The 


IRVING  SYSTEM 

A    New  Easy 

Method  of  Story 

and   Photoplay 

Writing 


by 

JAMES  IRVING 


BOOK  VI 


PUBLISHED  BY 

THE  AUTHORS'  PRESS 
AUBURN,  NEW  YORK 


THE 

IRVING  SYSTEM 

A  NEW  EASY  METHOD  OF  STORY 
AND  PHOTOPLAY  WRITING 

BY 

JAMES   IRVING 


BOOK  VI 


PUBLISHED   BY 

THE    AUTHORS'    PRESS 
AUBURN,    NEW    YORK 


(^ 


Copyright,  1919,  by 

THE  AUTHORS'   PRESS 

Printed  in  the  United  States 
of  America 

All  rights  reserved,  including  that  of 

translation  into  foreign  languages, 

including  the  Scandinavian. 


Theatre  Art« 
Library 

BOOK  VI 

Chapter  VII 
WHERE  TO  SELL  MANUSCRIPTS 

Photoplays. 

American  Film  Co.,  Inc.,  Santa  Barbara,  Cal. 
Artcraft  Pictures  Corp.    See  Famous  Players-Lasky  Corp. 
Blue  Bird  Features.     See  Universal  Film  Mfg.  Co. 
Brunton  Studio,  53  ii  Melrose  Ave.,  Los  Angeles,  Cal. 
Christie  Film  Co.,  Inc.,  Sunset  Blvd.  and  Gower  St.,  Los  Angeles,  Cal. 
Diando  Motion  Picture  Co.,  Glendale,  Los  Angeles,  Cal. 
Dorothy  Gish  Co.,  Sunset  Studio,  4520  Sunset  Blvd..  Los  Angeles,  Cal. 
Douglas  Fairbanks  Co.,  Sunset  &  Argyle,  Los  Angeles,  Cal. 
Ebony  Film  Corp.,  608  S.  Dearborn  St.,  Chicago. 
Essanay  Film  Mfg.  Co.,  1333  Argyle  St.,  Chicago. 
Famous  Players-Lasky  Corp,  485  Fifth  Ave.,  New  York. 
Fox  Film  Corp.,  130  W.  46th  St.,  New  York. 
Frohman  Amusement  Corp.,  Times  Bldg.,  New  York. 
Gaumont  Co.,  Flushing,  N.  Y. 

Goldwyn  Pictures  Corp.,  16  W.  42nd  St.,  New  York. 
Haworth  Pictures  Corp.,  Hellman  Bldg.,  Los  Angeles,  Cal. 
International  Film  Service,  729  Seventh  Ave.,  New  York. 
Ivan  Film  Prod.,  Inc.,  126  W.  46th  St.,  New  York. 
Frank  A.  Keeney  Pictures  Corp.,  1493  Broadway,  New  York, 
L-Ko  Motion  Picture  Co.,  6100  Sunset  Blvd.,  Los  Angeles,  Cal. 
Mabel  Condon  Exchange,  6035  Hollyword  Blvd.,  Los  Angeles,  Cal. 
Mack  Sennett  Comedies,  Los  Angeles,  Cal. 
Mary  Pickford  Productions,  Hollywood,  Cal. 
National  Film  Corp.,  Hollywood,  Cal. 

Paramount  Pictures  Corp.     See  Famous  Players-Lasky  Corp. 
Pathe  Exchange,  25  W.  45th   St.,  New  York. 
Renowned  Pictures  Corp.,  1600  Broadway,  New  York. 
Rolin  Film  Co.,  Los  Angeles,  Cal. 
Select  Pictures,  Inc.,  729  Seventh  Ave.,  New  York. 
Selig  Polyscope  Co.,  58  E.  Washington  St.,  Chicago. 

Southern  California  Producing  Co.,  6101  Sunset  Blvd.,  Los  Angeles,  Cal. 
Sunshine  Comedies  Inc.,  Western  &  Longpre  Aves.,  Los  Angeles,   Cal. 

371 


272  THE  IRVING  SYSTEM  OF  WRITING 

Norma  Talmadge  Film  Corp,  1493  Broadway,  New  York. 

Universal  Film  Mfg.  Co.,  1600  Broadway,  New  York. 

Vitagraph  Co.  of  America,  E.  15th  St.  &  Locust  Ave.,  Brooklyn,  N.  Y. 

Vogue  Film  Co.,  Cower  &  Santa  Monica  Sts.,  Hollywood,  Cal. 

World  Film  Corp.,  130  W.  46th  St.,  New  York,  N.  Y. 

Qara  Kimball  Young  Co.,  ^Eolian  Hall,  New  York. 

Standard  Magazines. 

Adventure,  Spring  and  Macdougal  Sts.,  New  York. 

Ainslee's  Magazine,  79  Seventh  Ave.,   New  York. 

All-Story  Weekly,  8  West  40th  St.,  New  York. 

American  Ambition,  422  Land  Title  Bldg.,  Phila.,  Pa. 

American  Magazine,  381   Fourth  Ave.,  New  York. 

Argonaut,  406  Sutter  St.,  San  Francisco,  Cal. 

Argosy,  8  West  40th  St.,  New  York. 

Atlantic  Monthly,  3  Park  St.,  Boston,  Mass. 

Bellman,  118  S.  15th  St.,  Minneapolis,  Minn. 

Black  Cat,  Salem,  Mass. 

Blue  Book,  North  American  Bldg.,  Chicago. 

Bookman,  The,  443  Fourth  Ave.,  New  York. 

Bfeezy  Stories,  112  East  19th  St.,  New  York. 

Business  Philosopher,  Area,  111. 

Canadian  Courier,  181  Simcoe  St.,  Toronto. 

Canadian  Magazine,  Toronto. 

Cartoons,  6  N.  Michigan  Ave.,  Chicago. 

Century  Magazine,  353  Fourth  Ave.,  New  York. 

Collier's  Weekly,  416  West  13th  St.,  New  York. 

Colonade,  Box  44,  University  Heights,  N.  Y. 

Cosmopolitan,  119  West  40th  St.,  New  York. 

Current  History,  Times  Bldg.,  New  York. 

Detective  Story  Magazine,  79  Seventh  Ave.,  New  York. 

Dial,  The,  623  Sherman  St.,  Chicago. 

Everybody's  Magazine.  Spring  and  Macdougal  Sts.,  New  York 

Film  Fun,  225  Fifth  Ave.,  New  York. 

Forbes  Magazine,   120  Broadway,  New  York. 

Forum,  286  Fifth  Ave.,  New  York. 

Green  Book,  North  American  Bldg.,  Chicago. 

Harper's  Magazine,  Franklin  Square,  New  York. 

Hearst's  Magazine,  119  West  40th  St.,  New  York. 

Holland's  Magazine.  Dallas,  Tex. 

Illustrated  World,  Drexel  Ave.  and  58th   St.,   Chicago. 

Independent,  The,  119  West  40th  St.,  New  York. 

Judge,  225  Fifth  Ave.,  New  York 

Leslie's  Weekly,  225  Fifth  Ave.,  New  York. 

Life,  17  West  31st  St.,  New  York. 

Literary  Digest,  The,  354  Fourth  Ave.,  New  York. 

Live  Stories,  35  West  39th  St.,  New  York. 

McClure's  Magazine,  Fourth  Ave.  and  20th  St.,  New  York. 

MacLean's  Magazine,  Toronto. 


WHERE  TO  SELL  MANUSCRIPTS  273 

Metropolitan  Magazine,  432  Fourth  Ave,,  New  York. 

Modern  Methods,  Detroit,  Mich. 

Munsey's  Magazine,  8  West  40th  St.,  New  York. 

National  Magazine,  952  Dorchester  Ave.,  Boston,  Mass. 

New  Republic,  421  West  21st  St.,  New  York. 

Outlook,  381   Fourth  Ave.,   New  York. 

Parisienne,  461  Eighth  Ave.,  New  York. 

Pearson's  Magazine,  34  Union  Square,  New  York. 

People's  Popular  Monthly,  Des  Moines,  la. 

Physical   Culture,  Flatiron   Bldg.,   New  York. 

Poetry,  A  Magazine  of  Verse,  543  Cass  St.,  Chicago. 

Popular  Magazine,  79  Seventh  Ave.,  New  York. 

Popular  Mechanics  Magazine,  6  N.  Michigan  Ave.,  Chicago. 

Popular  Science  Monthly,  225  West  39th  St.,  New  York. 

Puck,  210  Fifth  Ave.,  New  York. 

Railroad  Man's  Magazine,  8  West  40th  St.,  New  York. 

Recreation,  2  West  33d  St.,  New  York. 

Red  Book,  North  American  Bldg.,  Chicago. 

Review  of  Reviews,  30  Irving  Place,  New  York. 

Saturday  Evening  Post,  Independence  Square,  Phila.,  Pa. 

Saucy  Stories,  461   Eighth  Ave.,  New  York. 

Scribner's  Magazine,  Fifth  Ave.  at  48th  St.,  New  York. 

Short  Stories,  Garden  City,  L.  I.,  N.  Y. 

Smart  Set,  461  Eighth  Ave.,  New  York. 

Smith's  Magazine,  79  Seventh  Ave.,  New  York. 

Snappy  Stories,  35  West  39th  St.,  New  York. 

Sunset  Magazine,  San  Francisco,  Cal. 

System,  Madison  St.  and  Wabash  Ave.,  Chicago. 

10  Story  Book,  537   S.  Dearborn  St.,   Chicago. 

Top-Notch  Magazine,  79  Seventh  Ave.,  New  York. 

Touchstone   Magazine,   118  East  30th   St.,  New  York. 

Town  Topics,  2  West  45th  St.,  New  York. 

Travel,  31  East  17th  St.,  New  York. 

Vanity  Fair,  449  Fourth  Ave..  New  York. 

World's  Work,  Garden  City,  L.  I.,  N.  Y. 

Young's  Magazine,  112  E.  19th  St.,  New  York. 

Youth's  Companion,  881  Commonwealth  Ave.,  Boston,  Mass. 

Women's  Publications. 

American  Cookery,  372  Boylston  St.,  Boston,  Mass. 
American  Motherhood,   Cooperstown,  N.  Y. 
Business  Woman's  Magazine,  Nevvburgh,  N.  Y. 
Canadian  Home  Journal,  71  Richmond  St.,  West  Toronto. 
Delineator,  Spring  and  Macdougal  Sts.,  New  York. 
Designer,   12  Vandam   St.,  New  York, 
Everywoman's  World,  62  Temperance  St.,  Toronto. 
Family,   Simmons   Publishing  Co.,   Springfield,   O. 
Farmer's  Wife,  St.  Paul,  Minn. 
Gentlewoman,  649  West  43d  St.,  New  York. 


274  THE  IRVING  SYSTEM  OF  WRITING 

Good  Housekeeping,  119  West  40th  St.,  New  York. 

Harper's  Bazar,  119  W.  40th  St.,  New  York. 

Home  Friend  Magazine,  Kansas  City,  Mo. 

Home  Life,  141  West  Ohio  St.,  Chicago. 

Household  Guest,  550  North  La  Salle  St.,  Chicago. 

Ladies'  Home  Journal,  Independence  Square,  Phila..  Pa. 

McCall's  Magazine,  236  West  37th  St.,  New  York. 

Modern  Priscilla,  Boston,  Mass. 

Mother's  Magazine,  Elgin,  111. 

Pictorial  Review,  216  West  39th  St.,  New  York. 

Spare  Moments,  Allentown,  Pa. 

Southern  Woman's  Magazine,  Nashville,  Tenn. 

Today's  Housewife,  461  Fourth  Ave.,  New  York. 

Vogue,  443  Fourth  Ave.,  New  York. 

Woman's  Home  Companion,  381  Fourth  Ave.,  New  York. 

Woman's  Magazine,  636  Broadway,  New  York. 

Woman's  World,  107  South  Clinton  St.,  Chicago,  111. 

Juvenile  Publications. 

American  Boy,  The,  Detroit,  Mich. 

Beacon,  25  Beacon  St.,  Boston,  Mass. 

Boys'  Life,  200  Fifth  Ave.,  New  York. 

Boys'   Magazine,  Smethport,  Pa. 

Boys'  World,  Elgin,  111. 

Child's  Gem,  161  Eighth  Ave.,  Nashville,  Tenn. 

Dew  Drops,  Elgin,  111. 

Every  Child's  Magazine,  Omaha,  Nebr. 

Fame  and  Fortune,   166  West  23d  St..  Nev/  York. 

Forward,  Witherspoon  Bldg.,  Phila.,   Pa. 

Girl's  Comfianion,   Elgin,  111. 

Girl's  World,   1701   Chestnut  St.,  Phila.,  Pa. 

John  Martin's  Book,  Garden  City,  L.  I.,  N.  Y. 

Little  Folks,  Salem,  Mass. 

Round  Table.  2712  Pine  St.,  St.  Louis,  Mo. 

St.  Nicholas  Magazine.  353  Fourth  Ave.,  New  York. 

What  To  Do.  Elgin,  111. 

The  Young  Churchman.  484  Milwaukee  St.,  Milwaukee,  Wis. 

Young  Crusader,  1730  Chicago  Ave.,  Evanston,  111. 

Young  Folks.   1716  Arch  St.,  Phila.,  Pa. 

Youth's  World,   1701   Chestnut  St.,  Phila.,  Pa. 


PART  IV 
A  MODEL  PHOTOPLAY 

"The  Countess  Charming" 

By  Gelett  Burgess  and   Carolyn  Wells 

Scenario  by  Gardner   Hunting 

Directed  by  Donald  Crisp 

FEATURING  JULIAN   ELTINGE 

::oPYRiGHT  by  famous  players-lasky  corporation 

Chapter  I 

"THE  COUNTESS  CHARMING" 

IMPORTANT — The  scenario  for  "The  Countess  Charming,"  printed 
below,  was  written  by  Mr.  Gardner  Hunting,  considered  one  of  the 
greatest  scenario  writers  in  America,  from  the  story  by  Gelett  Burgess 
and  Carolyn  Wells.  Mr.  Julian  Eltinge,  well-known  female  impersonator, 
zvas  featured  in  this  play  under  the  direction  of  Donald  Crisp.  Since 
this  is  the  actual  ivorking  scenario  used  by  the  Famous  Players-Lasky 
Corporation  to  produce  the  Paramount  Picture,  "The  Countess  Charming!' 
its  value  to  the  beginner  is  too  obvious  for  comment.  We  take  this; 
opportunity  to  acknowledge  our  deep  debt  to  the  Famous  Players-Lasky 
Corporation,  by  whose  kind  permission  this  scenario  is  printed  below. 

THE  PUBLISHERS. 

1.  Main  Title:  "The  Countess  Charming" 

2.  Producer's  Title:  "To  every  cause  its  craft — whether  to  win 

a  war  or  to  woo  a  woman !" 

3.  Credit  Title :  Members  of  the  North  Shore  Country  Club 

Hear  a  Plea  for  Red  Cross  Funds 

4.  Subtitle : 

5.  Subtitle : 

Scene  i. 

Int.  Club  Lounge — (or  large  general  reception  and  dancing  room, 
characteristic  of  country  clubs)     (IRIS  IN) 

Semi-informal  but  considerable  gathering  of  society  folk    (some  in 
sport   clothes,    some   in    afternoon    costumes)    listening    to    closing 

275 


276  THE  IRVING  SYSTEM  OF  WRITING 

words  of  an  earnest  plea  for  subscriptions  made  by  a  good  type  of 
Red  Cross  woman  worker — she  says : 

6.  Spoken  Title:  "Dear  friends,  the  world  has  spent  billions 

to  spread  ruin;  shall  we  not  spend  some- 
thing to  staunch  a  little  of  the  flowing 
blood,  to  repair  a  few  of  the  human 
wrecks,  to  relieve  some  of  the  suffering?" 
Working  making  closing  remarks. 

7.  Subtitle:  A    Listener,    Youthfully    Honest    and    Un- 

spoiled Enough  to  be  Touched 

"Betty  Lovering" (Miss   Vidor) 

Scene  2. 

Int.  Club  Lounge— (CLOSE-UP) 

Betty  leaning  forward— earnest-eyed — lips  parted — listening  eagerly 

and  absorbedly. 

8.  Subtitle :  Her  Mother,  to  Whom  the  Social  Drift  of 

the  Moment  is  Law. 

Scene  3. 

Int.  Club  Lounge— (CLOSE-UP) 

Mrs.  Lovering  (rather  handsome,  but  somewhat  characterless, 
society  matron)  who  listens  a  little  restlessly — glances  off  once  or 
twice  to  see  what  her  neighbors  are  doing. 

9.  Subtitle:  A   Guest,   Lately   Introduced   at  the    Club. 

Too  Interesting  a  Figure  to  Escape  Gossip 

Mr.  Saunders  Julian 

(JULIAN  ELTINGE) 

Scene  4. 

Int.  Club  Lounge— (CLOSE-UP) 

Julian  listens  gravely  to  speaker,  then  turns  quietly,  looks  off  at 
Betty  with  quiet  admiration  and  subtle  smile  of  pleasure  in  her 
beauty  and  girlish  earnestness. 

Scene  5. 

Int.  Club  Lounge— (SEMI  CLOSE-UP) 

Betty  and  Julian.  He  looks  at  her — she  becomes  conscious  of  his 
gaze,  turns  toward  him,  a  little  embarrassed  by  the  sudden  contact 

of  eyes — hers  droop  prettily — his  gaze  plainly  suggests  beginnin-:: 
of  love,  while  her  slight  confusion  readily  hints  that  she  is  not 
indifferent  to  him — she  drops  her  eyes — as  she  does  so,  she  notices 
his  hand  on  chair  arm. 

Scene  6 

Int.   Club  Lounge— (CLOSE-UP)  ^ 
Julian's  hand — striking  ring  upon  it. 


"THE  COUNTESS  CHARMING"  277 

Scene  7. 

Int.  Club  Lounge— (SEMI  CLOSE-UP) 

Betty  looks  at  ring — then  glances  up  at  Julian — then  turns  to  listen 
again  to  speaker. 

Scene  8. 

Int.  Club  Lounge— (SEMI  CLOSE-UP) 

Matron  (calculating,  restlessly  ambitious  type)  sitting  with  three 
only  moderately  attractive,  marriageable  daughters  and  a  friend — 
matron  looks  off  at  Betty  and  Julian — then  glances  significantly  over 
her  own  unsought  brood — after  instant,  looks  again  at  Levering 
group,  whispers  to  her  friends : 

10.  Spoken  Title:  "After    the    Loverings    have    landed    that 

young  Mr.  Julian,  I  suppose  they'll  investi- 
gate the  mystery  surrounding  him." 
Matron  finishes  speaking. 

Scene  9. 

Int.  Club  Lounge— (SEMI  CLOSE-UP) 

Matron  and  companion.  Her  companion  raises  brows,  looks  off 
with  gossip's  interest,  inquires  as  to  Julian's  reputed  connections — 
matron  replies : 

11.  Spoken  Title:  "He's  said  to  have  been  in  diplomatic  ser- 

vice— but   no   one   seems   able    to   state   in 

what  capacity." 
Matron  obviously  jealous  of  the  Loverings — slightly  tilts  head  and 
turns  toward  Red  Cross  speaker — companion  glances  at  her,  then 
at  her  three  daughters,  smiles  knowingly  to  self — abruptly  turns — 
all  the  group  begins  to  applaud  with  that  patronizing,  indulgent 
geniality  society  audiences  display  on  such  occasions. 

Scene  10. 
Int.  Club  Lounge 

Speaker  has  just  finished — audience  applauding — several  ladies  sur- 
round speaker — audience  begins  to  break  up  into  groups. 

Scene  11. 

Int.  Club  Lounge— (SEMI  CLOSE-UP) 

Betty  springs  up  and  begins  to  talk  eagerly  to  Julian  of  address — 
he  rises,  to  listen  smilingly — Mrs.  Lovering  hovers  beside  them,  but 
glances  fleetingly  about — presently  becomes  all  smiles  with  sugges- 
tion of  sycophantic  greeting,  as  if  important  personages  approach 
her. 

12.  Subtitle:  The  Social  Dictator,  Who  Leads  the  Smart 

Set — As    if    by    a    Ring    in    its    Collective 
Nose  !     Mrs.  Esmond  Vandergrift 


278  THE  IRVING  SYSTEM  OF  WRITING 

Scene  12. 

Int.  Club  Lounge— (CLOSE-UP) 

Mrs.   Vandergrift  advances,   smiling   patronizingly,   as   if   it  is  her 

whim   to   be  gracious    for   the   motr.ent  to    Mrs.   Levering — (she   is 

overdressed,  much  bejeweled  with  rings,  gemmed  chains,  ear-rings, 

etc.) 

13.  Subtitle  :  And  Husband — Who  is  Only  the  President 

of  the  Biscuit  Trust,  the  Board  of  Trade 
and  a  Bank  or  Two. 

Scene  13. 

Int.  Qub  Lounge— (CLOSE-UP) 

Vandergrift  chewing  dry  cigar — absently  feeling  for  a  match — 
(heavy  type  of  big  financier,  who  is  spoiled  by  success  and  thinks 
his  opinion  should  guide  the  world) — he  frowning  and  smirking 
contemptuously,  as  if  disgusted  with  what  he  has  been  listening  to. 

Scene   14. 

Int.   Club  Lounge— (SEMI   CLOSE-UP) 

Vandergrifts  greet  Mrs.  Lovering.  who  flatters  with  eagerness  to 
please — speaks  quickly  to  Betty,  who  turns  with  Julian  to  speak  to 
Vandergrifts — Betty  eagerly  says  some  enthusiastic  thing  about 
address — Mrs.  Van  looks  at  her,  coolly  raising  brows — Vandergrift 
sneers,  looks  from  Betty  to  Julian,  as  if  expects  to  find  sympathy 
from  a  man — says  : 

14.  Spoken  Title  :  'Tt    exasperates    me — this    everlasting,    so- 

liciting,  begging — grafting!     They  get   no 

money  of  mine !" 
He  sneers  contemptuously — Mrs.  Van  nods  with  disgusted  approval 
— Van  finds  match,  begins  to  light  cigar  without  consideration  for 
ladies — Julian    takes    exception    to    what   he    has    said,    with    quick 
gravity,  says : 

15.  Spoken  Title:  "I  resent  such  sneers,  sir,  at  great-hearted 

workers  for  a  wonderful  cause !" 
Julian  very  cool,  but  resentful — Vandergrift   genuinely  astonished, 
but  growing  furiously  angry  at  so  public  a  rebuke — glances  about, 
as  if  conscious  of  audience — says : 

16.  Spoken  Title;  "You're    very    ready    to    tell    people    with 

monev   how   to   give   it   away !     What   ax 
have  YOU  to  grind  here  ?" 
Julian  starts  at  insult,  then  coldly  angry — answers : 

17.  Spoken  Title:  "Some  day.   Mr.  Vandergrift,  the  govern- 

ment will  largely  confiscate  such  swollen 
fortunes  as  yours,  and  apply  them  to  real 
human  needs.  I  hope  to  God  it  may  be 
soon!" 


"THE  COUNTESS  CHARMING"  279 

Scene  15. 

Int.  Club  Lounge— (SEMI  CLOSE-UP) 

Julian  faces  Vandergrift,  as  others  listen — club  members  crowd 
forward  curiously — Vandergrift  almost  foaming  at  mouth — at  a 
loss  for  a  reply — Mrs.  Van  steps  toward  Julian — with  eyes  blazing 
with  contempt,  says: 

18.  Spoken  Title:  "Yes,   doubtless  you  would  like  the  Lord 

to  help  you  help  yourself !" 
Julian  turns,  eyes  narrowing — then,  realizing  that  affair  is  becofning 
scene  and  he  cannot  say  rough  things  to  a  woman,  turns  abruptly 
away,  offering  arm  to  Betty,  leading  her  quietly  off — she  indignant 
and  much  stirred,  but  accepts  his  hint,  goes  quietly — the  Vans  turn 
to  look  angrily  at  each  other — Mrs.  Lovering  apologetic — people 
curious  and  gossipy. 

Scene  16. 

Red  Cross  worker  and  others  comes  to  Betty — Julian  in  f.  g.  moves 
forward  to  stand  at  her  shoulder — worker  distressed,  embarrassed, 
humiliated,  almost  in  tears — Betty  impulsively  sympathetic,  and 
resentful  toward  the  Vans — takes  worker's  hands,  speaks  quickly — 
Julian  reaches  over,  takes  subscription  book  from  worker — opening 
it,  takes  out  fountain  pen — starts  to  write. 

Scene  17 

Int.  Club  Lounge — (CLOSE-UP  subscription  book) 
Julian's  hand,  with  handsome  pen,  is  writing  pledge 

Saunders  Julian $1,000. 

Scene   18. 

Int.  Club  Lounge— (SEMI  CLOSE-UP) 

Julian  smiles,  as  Betty  eagerly  seizes  and  looks  at  book — she  de- 
lighted with  his  action,  shows  book  to  worker,  who  is  quickly 
grateful,  as  much  for  his  moral  support  as  for  his  gift  to  cause — 
suddenly,  impulsive  Betty  looks  up  and  about,  then  at  Red  Cross 
worker — considers  an  instant  over  new  idea — then  says  : 

19.  Spoken  Title:  "I  know  the  other  club  members  will  give. 

I'll  get  their  contributions!" 
Red  Cross  worker  doubtful  for  instant — Betty  eagerly  urges  and 
promises — few  of  people  about  smile  with  reserved  approval — one 
woman  listens  with  half-sneer — Betty  insists  on  helping — Julian 
nods,  pleased  with  her — worker  at  last  consents,  thanks  Betty,  then 
turns  away  with  friends,  as  if  glad  to  escape  the  club — sneering 
woman  turns  quickly  away — Betty  turns  to  Julian,  somewhat  excit- 
edly says  means  to  make  club  members  give. 

Scene  185^. 

Ext.  Club   (piazza  or  terrace) 

Vandergrifts    just    coming   out,    surrounded   by   group   of   toadies, 


280  THE  IRVING  SYSTEM  OF  WRITING 

among  whom  is  Mrs.  Lovering — Van  fuming — Mrs.  Van  grim — 
others  take  cue  slavishly  from  society  leader,  look  off,  as  if  with 
settled  hostility  to  subscription  plan — woman  who  sneered  at  Julian 
and  Betty  comes  up  to  Van,  tells  him  of  Julian's  subscription-— 
Van  looks  angrily  off,  says : 

20.  Spoken  Title:  "Subscribed    a    thousand,    did    he?      Well, 

he'll  bear  watching!  There's  always  some- 
thing back  of  such  showy  generosity." 
Vandergfift  sneers  at  Julian,  off — then,  as  club  servant  brings  his 
hat  and  Mrs,  Van's  wrap  (or  sunshade)  she  takes  his  arm  with 
managing  gesture,  as  if  saying,  "Now  let  ME  manage  this  affair — 
I'll  take  care  of  this  Mr.  Julian!" — they  go — group  gossiping  behind 
them  with  interest,  as  they  foresee  that  something  will  happen. 
(IRIS  OUT) 

Scene  19. 

Int.  Cub  Lx)unge— (IRIS  IN) 

Julian  coming  wandering  slowly  in,  thoughtfully  lighting  cigar — 
group  of  men  at  buffet  glance  at  him,  then  at  each  other — turn, 
subtly  shutting  him  out  of  group — he  sees,  but  feigns  not  to  notice, 
looks  up  and  off — smiles  as  some  one  he  likes  approaches. 

21.  Subtitle:  Julian's  Friend  and  Sponsor  at  the  Qub — 

the   Only   Man   of   Whom   He   Makes   art 

Intimate. 

Dr.  John  Cavendish 

Cavendish  comes  up,  looks  quizzically  at  Julian — they  glance  at 
group  of  men  in  b.  g.  turn  to  f .  g.  to  talk — Cavendish  says : 

22.  Spoken  Title:  "Well,   you've    probably   queered    the   Red 

Cross — if  not  yourself — with  the  women 
here.  Few  will  dare  back  anything  the 
Vandergrifts  disapprove !" 
Julian  grins  slightly,  produces  cigar,  holds  it  out  to  Cavendish,^  as 
if  it  is  much  more  important  consideration  than  the  social  situation 
— Cavendish  looks  off  toward  Betty,  says :  "But  it  may  have  serious 
consequences  for  your  friends !" — Julian  quickly  serious. 

Scene  20. 

Int.  Club  Lounge — (Shooting  into  piazza) 

To  show  Julian  and  Cavendish  approaching  door,  as  Cavendish 
describes  the  probable  consequences  of  offending  the  Vandergrifts — 
Julian  disturbed  now,  begins  to  look  about  for  glimpse  of  Betty, 
feels  responsibility — after  moment,  excuses  self  to  Cavendish  to 
hunt  for  Betty — goes — Cavendish  looks  after  him,  subtly  smiling 
with  hearty  liking. 

Scene  2r. 
Ext.  Qub  Piazza 

Betty  asks  group  for  contributions — finds  her  plea  falls  on  cold 
ears — stops — modish   woman   draws   girl   to   f.   g.   with   manner   of 


"THE  COUNTESS  CHARMING"  281 

giving  friendly  tip — says  to  wondering  Betty,  "Betty,  drop  it,  dear 
— people  who  value  Mrs.  Van's  good-will  won't  subscribe  now" — 
dissuading  Betty  from  soliciting — woman  goes  on  talking — 
just  then  Julian  comes  in,  stands  a  moment,  listening — after  instant, 
woman  sees  him,  stops  abruptly — Betty  looks  up — he  says : 

23.  Spoken  Title  :  "I  fancy  you'd  better  take  her  advice,  Miss 

Betty — and  leave  this  situation  to  me.    I'm 

responsible  for  it." 
Betty  protests — Julian  takes  book  firmly  from  her,  says:  "Come — 
let's  hear  what  mother  will  say" — Betty  turns  with  him. 

Scene  22. 

Int.  Corner  of  Club  Lounge 

Mrs.  Lovering  talking  rather  anxiously  with  couple  of  social  cronies 
— Betty  and  Julian  come  in — Betty  makes  appeal  quickly  to  mother, 
referring  to  Julian  and  subscription-book,  etc. — Mrs.  Lovering  turns 
on  Betty  at  once,  condemning  her  having  anything  to  do  with 
subscription — Julian,  with  half-incredulous,  half-protesting  smile, 
tries  to  argue — Mrs.  Lovering  begins  to  scold  him — Julian  annoyed, 
but  polite — Mrs.  Lovering  urges  Betty  to  go  home  now — Betty  says : 

24.  Spoken  Title :  "But    mother,    I've    promised    to    get    sub- 

scriptions from  the  club  members !" 
Mrs.  Lovering  disgusted,  but  insists  she  give  it  up  and  come  home 
— Julian    quietly    smiles    at    Betty — approves    mother's    plan — Betty 
distressed,  yields — trio  all  turn  to  go.     (IRIS  OUT) 

Scene  23. 

Ext.  Park  at  Vandergrift's  Home— (IRIS  IN) 

As  Motor  arrives  with  the  Vans — Vandergrift  talks  with  spasmodic 
recurrence  of  wrath  over  affront  from  Julian — as  they  alight  and 
come  to  the  f .  g.  on  the  way  on — Mrs.  Van  stops  him — says : 

25.  Spoken  Title:  "A  house  party  at   our   ocean-side  house, 

which  includes  Mr.  Julian's  friends  but  not 
himself,  will  stop  his  social  career  here!" 
Van  begins  to  grin,  as  sees  nature  of  this  punishment — Mrs.  Van 
turns  with  evident  purpose  of  putting  her  plan  at  once  into  execu- 
tion— leads  way  into  house. 

Scene  24. 

Ext.  Front  of  Lovering  House 

Motor  just  arrived  with  Loverings  and  Julian — all  rather  silent — 
Betty  very  unhappy — ^as  they  alight,  Julian  says  quiet,  dignified  word 
of  regret  to  Mrs.  Lovering — she  almost  snaps  at  him — Betty  pro- 
tests in  distress — Mrs.  Lovering  takes  her  arm,  draws  her  away, 
leaving  Julian  unceremoniously — Betty  looks  back,  but  mother  urees 
her  on  in — Julian  takes  off  his  hat,  stands  looking  very  regretfully 
after  them,  then  raises  brows — turns  away. 


282  THE  IRVING  SYSTEM  OF  WRITING 

Scene  25. 

Int.  Corner  of  Lovering  Hall  (flat  will  do,  with  table  and  phone) 
Betty  and  mother  in — Mrs.  Lovering  scolds,  points  to  phone — 
"You  call  up  Mrs.  Vandergrift  this  moment,  young  lady,  and 
apologize  for  the  offense  of  your  escort,  who  will  probably  not 
have  the  grace  to  apologize  for  himself" — Betty  protests — mother 
obdurate — Betty  sinks  down  at  table,  calls  number. 

Scene  26. 

Int.  Corner  of  Mrs.  Van's  Morning  Room — (small  comer,  with 
desk  and  phone  near  window) 

Mrs.  Van  seated  with  social  secretary — dictating — phone  rings — 
secretary  answers,  tells  Mrs.  Van  who  it  is — Mrs.  Van  smiles 
grimly,  takes  phone,  answers  graciously,  then  listens — after  mo- 
ment, says : 

26.  Spoken  Title :  "Why,  of  course  you're  sorry,  my  dear.  But 

naturallv   we    shall   all   have   to — ah — drop 
Mr.— ah— Julian !" 
Mrs.  Van  smiles,  nods,  then  hangs  up  with  grim  satisfaction. 

Scene  2"]. 

Int.  Corner  of  Lovering  Hall 

Betty  hangs  up,  wilts,  then  turns  in  distress  to  mother,  says :  "She 
says  'of  course  we'll  have  to  drop  him.'  "  Mother  compresses  lips 
with  instant  resolve — Betty  sees,  protests — mother  firmly  says  she 
will  not  offend  Mrs.  Van,  turns  away,  as  if  to  take  action — Betty, 
after  instant  aghast,  whirls,  runs  awav,  crying.     (IRIS  OUT) 

27.  Subtitle:  That  Night— First  Blood! 

Scene  28. 

Int.  Julian's  Library— (fine  set)— Night— (IRIS  IN) 
Julian  on  smoking  pipe — thinking  gravely,  in  big  easy  chair — Jap 
servant  comes  in  with  note,  which  he  indicates  just  came  by  mes- 
senger— Julian  surprised,  takes  note — reads  : 

28.  Subtitle:  A  Confidential  Servant,  of  Deep  Discretion 

and  High  Efficiency — Soto 

Soto  looks  up  gravely  past  camera,  then  at  master,  who  is  finishing 
reading  note  with  distress  written  all  over  his  countenance — at  last, 
compressing  lips,  Julian  turns  again  to  first  page  of  note — re-reads: 

29.  Insert:  (First    page    of    note — delicate,    feminine 

hand,  on  monogrammed  paper.) 
Mr.  Julian: 

I  regret  to  take  this  step,  but,  in  view 
of  what  happened  today.  I  feel  constrained 
to  ask  you  to  cease  your  attentions  to  my 
daughter  Betty.  I  have  plans  for  her  which 


"THE  COUNTESS  CHARMING"  283 

Julian  sinks  back  in  chair,  lays  aside  pipe,  stares  at  hearth — Soto 
asks  if  there  is  any  answer — Julian  slowly  shakes  head — Soto  turns 
away,  hesitatingly — Julian's   face  twists  with   bitter  emotions. 

Scene  29. 

Int.  Betty's  Boudair — (simply  lace-curtained  window  in  flat — show 
window  only) — Monlight 

Betty  (negligee)  stands  with  mother  (kimono) — Mrs.  Lovering 
telling  Betty  what  she  has  done — Betty  crying,  suddenly  pleads  with 
mother — Mrs.  Lovering  silences  her,  turns  away — Betty  buries  her 
face  in  curtain — sobs. 

Scene  30. 

Int.  Julian's  Library — Night 

Julian  sits,  as  before,  staring  fixedly  into  fireless  grate,  at  last 
opens  grim  mouth — says  vigorously,  "Oh,  Hell !" — ^kicks  stand,  looks 
off,  turns  to  pipe,  picks  it  up,  slowly  rises  to  knock  ashes  from  it. 

Scene  31. 

Int.  Julian's  Library— Night— (CLOSE-UP) 

Julian — knocks  ashes  from  pipe,  begins  to  fill  it  from  jar  on  mantel, 
thinks,  shakes  head  bitterly,  very  slow  and  deliberate,  packs  tobacco 
down,  puts  pipe  in  mouth,  suddenly  a  thought  strikes  him,  he  pauses, 
stands  poised,  knits  brows. 

Scene  32. 

Soto  stands,  peering  in  thru  crack,  worried  about  bad  news  master 
received,  shakes  head,  peers  again,  then  stares — 

Scene  33. 

Int.  Julian's  Library— Night— (CLOSE-UP) 

Julian,  as  forgets  to  light  pipe,  as  stares  and  thinks,  very  slowly 
face  changes  as  idea  begins  to  take  possession  of  him,  suddenly  at 
last  he  brightens,  half  turns,  hesitates,  then  whirls,  calls  off:  "Soto!" 

Scene  34. 

Int.  Julian's  Library — Night 

Julian   waiting — Soto   comes   hurriedly — Julian   looks    at   him   with 

grim  grin  still  considering  his  idea  within  self — at  last,  puts  pipe 

into  his  mouth — says: 
30.    Spoken  Title:  "Soto,  if  somebody  was  taking  your  best 

girl — away    from   you — and    it   wasn't   her 
fault,  what  would  you  do?" 

Soto  grins — Julian  regards  him  earnestly — Soto  rubs  hands,  bows, 

then  grins  broadly — says : 


284  THE  IRVING  SYSTEM  OF  WRITING 

31.  Spoken  Title:  "Iss,  Mis'  Julian.    I — fight!" 

Julian  (pipe  in  mouth)  nods  grimly — then  looks  off — at  last, 
beckons  to  Soto — leads  way  out 

Scene  35. 

Int.  Julian's  Bedroom — Night 

Julian  comes  in  quickly  with  Soto  and  to  chest  in  corner — opens 
it — looks  in — purses  lips,  speaks  jestingly  to  Soto,  who  regards  him 
curiously,  then  grins — Julian  stoops,  raises  handsome  gown,  hold- 
ing it  up  to  light,  then  lays  aside  pipe  on  dresser,  laughs,  turns,  and 
with  imitation  of  feminine  manner  holds  gowns  against  self,  as  if 
to  show  effect,  directs  Soto  quickly  to  take  something  out  of  box 
— Soto  carefully  brings  up  fine  woman's  coiffeur  (wig-form) 

Scene  36. 

Int.  Julian's  Bedroom— Night— (SEMI  CLOSE-UP) 
Julian  laughs — says  to  Soto : 

32.  Spoken  Title  :  "Soto,  I've  a  notion  to  indulge  in  one  more 

— masquerade !" 
Soto    grins    expectantly — Julian    laughs,    suddenly    tosses    gown    to 
Soto,  starts  to  get  out  of  his  clothes,  husthng  Soto  to  get  the  rest 
of  the  necessary  paraphernalia   for  his  dressing — they  hear  bell — 
Julian  nods  to  Soto  to  answer  it — Soto  goes. 

Scene  37. 

Int.  Corner  of  Mrs.  Vandergrift's  Morning  Room — Night 
Social  Secretary  at  work,  addressing  invitations,  as  if  she  has  been 
already  long  at  the  task.     Mr.  Van  comes  in,  looks  at  notes,  picks 
one  up,  studies  it: 

33.  Insert:  (Informal   invitation — hand   written:) 

My  Dear  Mrs.  Lovering : 

Won't    you    and    Betty    join    us    on    the 
fifteenth  at  Billowcrest  for  the  week-end, 

We  shall  have  a 

Mrs.  Van  approves,  talks  to  Secretary  about  list,  noticeably  crosses 
off  name — unnecessary  to  show  close-up  here,  to  suggest  that  the 
scratched  entry  is  Julian's  name). 

Scene  38. 

Int.  Julian's  Library 

Soto  just  showing  in  Cavendish,  who  asks  easily  where  Julian  is 
— Soto  hesitates,  hems  and  bows,  then  says  will  see  if  his  master 
is  in — Cavendish  looks  at  him  with  curious  smirk — Soto  goes  off 
scene — Cavendish  thinks,  laughs,  then  with  air  of  being  privileged 
person,  starts  determinedly  to  follow. 


"THE  COUNTESS  CHARMING"  285 

Scene  39. 

Int.  Julian's  Bedroom — Night 

Julian  smokes  pipe  while  he  lays  out  gowns,  etc. — Soto  enters, 
explains  Cavendish  is  coming — Cavendish  strides  in,  stops  short, 
looks  about  at  gowns,  etc. — amazed,  then  grins,  looks  around  to  see 
where  the  woman  is — then  says:  "Well,  I  never  thought  this  of 
you" — Julian  turns.  Cavendish  half-humorously  accuses  him  01  hav- 
ing a  woman  in  his  rooms — Julian  quite  serious — turns — points  to 
chest — says : 
34.    Spoken  Title:  "A    woman?      Yes!      Right    in    that   box! 

The  Russian  Countess  Raffelski — who  takes 
a  house  here  this  week  for  the  season !" 


Julian  finishes  title: 


Scene  40 


Int.  Julian's  Bedroom— Night— (SEMI  CLOSE-UP) 
Cavendish  stares  at  Julian,  who   is  grim  and   determined — at  last. 
Cavendish  says,  "Well,  I'll  be  damned !"  Julian  says : 
35-36.  Spoken  Title :  "There's   a  chip   on   my  shoulder — for   the 

Vandergrifts — and  I've  a  fair  lady's  cause 

to  champion !" 
Julian  lightly  laughs — makes  quick  boxing  motion — touches  Caven- 
dish's  cheek — Cavendish   says,   "Well,   by  Jove !"   Julian   points   to 
Soto — says : 

37.  Spoken  Title:  |T  have  been  advised  to  fight!     And  this 

is — my  coat  of  mail !" 
Julian   picks    up   pipe    again,    begins    to    light   it — Cavendish   walks 
slowly  forward — Julian  takes  up  wig,  begins  to  talk  of  plans,  with 
half-serious  determination — (IRIS  OUT) 

38.  Subtitle:  When  Plans  Matured. 

Scene  41. 

Ext.  Terrace  (or  secluded  porch)  at  Betty's  House— (IRIS  IN) 
On  Betty  and  mother  just  sitting  down  to  breakfast  (served 
outside) — maid  brings  coffee  and  fruit,  letters  and  morning  paper 
— Betty  sad  and  gloomy — Mrs.  Lovering  rallies  her  a  little  on  her 
mood — Betty  looks  off  unhappily — Mrs.  Lovering  opens  paper  in 
search  of  social  news — Betty  idly  looks  over  letters,  suddenly  finds 
one  over  which  she  is  quickly,  but  guardedly  eager,  opens  it — reads. 

Scene  42. 

Ext.  Terrace— Betty's  House— (CLOSE  UP) 

Betty  reads,  grows  suddenly  startled,  then  very  unhappy,  turns  to 

last  page : 

39.  Insert:  (Last    page    of    note — bold,    strong    man's 

hand:)    *    *    *    only    with    deepest    regret 


286  THE  IRVING  SYSTEM  OF  WRITING 

that  I  recognize  your  mother's  right  to 
end  our  acquaintance,  and  bow  to  her  de- 
cision. 

Sincerely, 

Saunders  Julian. 
Betty   drops   hands,   with   letter,   into   lap — looks   across   piteously 


at  mother. 


Scene  43. 


Ext.  Terrace— Betty's  House— (SEMI  CLOSE-UP) 
Betty  and   mother  at  table.     Mrs.   Levering  discovers   social^  item 
of    huge    interest — speaks    suddenly    to    sorrowing    Betty,    without 
noticing  her  grief — begins  to  read  excitedly : 

40.  Insert:  (Double-column  newspaper  head,  in  style 

social  page:) 

Distinguished  visitor  here. 
Countess     Raffelski,     of     Petrograd     and 
Paris,   takes   Wells   Street   House. 
Will  stay  the  season. 
Betty,    despite    sadness,    opens    eyes    a    little — mother    reads    on 
eagerly,  but,  after  a  moment,  Betty  loses  interest,  looks  down  again 
at   her   letter,   suddenly  gets   up,   goes    softly   out — Mrs.    Lovering 
absorbed  behind  newspaper,  goes  on  reading  aloud,  thinking  Betty 
still  listens — after   moment,   she  looks  up  to  see  what  impression 
she  has  created — is  astonished  to  miss  Betty,  stares  around,  then 
newspaper  interest  is  too  strong  for  her  other  curiosity — she  goes 
on  reading. 

Scene  44. 

Ext.  Vandergrift  Garden 

Mrs.  Van  picking  flowers — (big  sun-hat  and  gloves,  as  if^  this  is 
regular  hobby) — Secretary  comes  with  letters  and  paper,  points  out 
item  regarding  Countess,  as  if  it  is  part  of  her  business  to  call 
attention  to  such  items — Mrs.  Van  reads,  with  avidity. 

Scene  45. 

Ext.  Vandergrift  Garden— (SEMI  CLOSE-UP) 
Mrs.  Van  reads,  turning  to  light  so  camera  gets  flash  of  item  to 
identify  it — face  takes  on  surprise  and  some  chagrin  that  this  is 
her   first  news   of   this   event — she   suddenly   covers    feeling   from 
secretary,  turns  for  letters: 

Scene  46. 

Ext.  Vandergrift   Gardens— (SEMI   CLOSE-UP) 

Secretary  watching — gives  Mrs.  Vandergrift  selected,  open  letter 
— Mrs.  Van  reads: 

41.  Insert:  (Letter — in    same    strong   man's    hand    as 

Julian's  letter  to  Betty,  on  paper  with  crest 
at  top:) 


"THE  COUNTESS  CHARMING"  287 

My  dear  Madame  Vandergrift : 

You  will,  no   doubt,   recall  our  meeting 
in  Moscow.     My  sister  has  taken  a  fancy 
to  stay  the  summer  at  *  *  *  *  Hands  turn 
suddenly  to  last  page  of  letter,  as  if  with 
sudden  desire  to  find  signature) 
*  *  *  *  any  courtesies  you  show  her. 
Cordially, 
(Prince)  Fedorovitch  Kamenski. 
Mrs.    Van    looks   at   signature,   knits   brows,    can't    remember    the 
Prince,   then    subtly   smiles,   gratified   anyway,   turns   to    Secretary 
with   smile   and  nod,   says   will   attend   to   matter  after  breakfast, 
turns   to  gardening — Secretary   looks   at  her   with   almost   venera- 
tion as  she  goes — after  moment,   Mrs.   Van  looks  guardedly  over 
shoulder   after   secretary — then   pauses,   tries   to   remember    Prince 
Fedorovitch — at   last   shrugs,    smiles — (IRIS    OUT) 

Scene  47. 

Int.  Countess'  Drawing  Room — (IRIS  IN) 

On  handsome  set,  somewhat  overfurnished — (one  feature  is  life- 
size  of  Venus  or  Aphrodite,  rather  boldly  nude) — Hold  on  empty 
set  for  moment — then  Soto  comes  slowly  in,  turns,  awaits  Count- 
ess, who  presently  follows — she  is  on  inspection  tour  (in  hand- 
some tailored  gown,  suit,  street  or  traveling  costume — very 
queenly,  very  charming) — looks  about  with  lorgnette — Dr.  Caven- 
dish follows  her  in,  grinning  with  interest. 

Scene  48. 

Int.  Countess'  Drawing  Room— (SEMI  CLOSE-UP) 
Countess  peers  about,  presently  sights  statue,  eyes  widen  with 
amusement — she  feigns  to  be  somewhat  shocked — turns  half  way, 
shielding  her  eyes  with  mock  modesty— looks  at  Cavendish,  off — 
shakes  head — "My  deah  doctor !  Shocking  !"  Then  suddenly  grins, 
very  mannishly  pokes  Cavendish  in  ribs,  turns  to  look  at  other 
things— (IRIS  OUT) 
42.    Subtitle:  The  Presentation. 

Scene  49. 

Ext.  Club  Lawn— (IRIS  IN) 

On  gay  scene,  club  folk  in  considerable  numbers  and  festive  array 
— tennis  in  background — golf  in  distance — Vandergrifts  just  arriv- 
ing— being  greeted  by  eager  and  interested  friends — all  women 
mildly  excited  over  anticipated  meeting  of  Countess. 

Scene  50. 

Ext.  Qub  Lawn— (SEMI  CLOSE-UP) 

Mrs.  Vandergrift  talks  with  friends — Van,  bored  with  society  things, 


288  THE  IRVING  SYSTEM  OF  WRITING 

gets  out  cigar,  turns  to  old  bird  of  his  sort — the  two  go  for  smoke 

— women  inquire  eagerly  of  Mrs.  Vandergrift  regarding  Countess — 

Mrs.  Van  says : 
43.    Spoken  Title:  "Oh,    yes,    the    Countess'    brother.    Prince 

Kamenski,  wrote  me  that  she  was  coming, 
I  called  yesterday — but  missed  her." 

Mrs.  Van  speaks  with  very  nonchalant  air  of  assurance — goes  on 

talking. 

Scene  51. 

Ext.  Club  Porch 

Betty  and  Mother  arriving — Mrs.  Lovering  eager,  interested — looks 
all  about  for  important  folk — Betty  forlorn  and  unhappy — glanc«s 
about  surreptitiously  in  hope  of  seeing  Julian — Mrs.  Lovering  sees 
group  on  lawn — urges  Betty  at  once  that  way. 

Scene  52. 

Ext.  Club  Lawn 

Mrs.  Van  and  her  court  move  toward  first  tee  of  golf  links,  Mrs. 
Van  behaving  as  if  not  particularly  excited  over  prospect  of  meet- 
ing Countess — as  they  go  to  background  Mrs.  Lovering  and  Betty 
come  hastening  after  them — Mrs.  Lovering  hurries  Betty. 

Scene  53. 

Ext.  Club  Drive 

Mrs.  Van  and  others  come  to  drive  to  cross  it  toward  links  as 
Mrs.  Lovering  and  Betty  catch  up  with  them — all  pause  for  greet- 
ings— after  moment,  some  one  suddenly  discovers  motor  arriving, 
off — all  turn  to  look  with  quick  interest — motor  sweeps  into  scene 
— in  it  are  Dr.  Cavendish  and  Countess — he  sees  group  of  ladies, 
orders  chauffeur  to  stop  quickly — leaps  down  to  assist  Countess 
out. 

Scene  54. 

Ext.  Club  Drive  (SEMI  CLOSE-UP) 

Cavendish  gallantly  assisting  Countess  to  alight — (she  in  elaborate 
afternoon  toilet,  or  gorgeous  sports  clothes,  extremely  modish,  a 
trifle  bizarre,  but  all  exquisite  smiles  and  graciousness) — she  de- 
scends, tossing  wrap  to  club  servant,  as  group  of  women  ap- 
proaches— motor  goes — Mrs.  Van  with  others  comes  smilingly  for- 
ward— Cavendish  turns  to  them  eagerly,  begins  to  present  Countess. 

Scene  55. 

Ext.  Qub  Drive— (CLOSE-UP) 

Mrs.  Vandergrift  greets  Countess,  very  cordial,  but  with  hint  of 
anxiety  to  please  showing  thru  her  stiff  dignity — Countess  vivacious, 
but  with  nice  touch  of  deference  to  this  leader  of  local  society — 
Mrs.  Van  commits  self  to  entire  endorsement  of  Countess. 


"THE  COUNTESS  CHARMING"  289 

Scene  56. 

Ext.  Club  Drive— (SEMI  CLOSE-UP) 

Other  women  crown  up  around  Mrs.  Vandergrift  and  Countess, 
eager  for  introduction — at  one  side  is  Betty,  watching  Countess'  face 
with  rather  pathetic  eyes — Countess  acknowledges  introductions 
right  and  left;  suddenly,  as  if  just  catching  sight  of  Betty,  she 
turns  to  girl,  to  whom  she  is  not  yet  introduced,  stretches  out  hands 
with  impulsive  caprice  which  her  rule  justifies. 

Scene  57. 

Ext.  Club  Drive— (CLOSE-UP) 

Betty  and  Countess.     Betty  is  a  little  surprised — Countess  smiles, 
seizes  girl's  shoulders,  looking  at  her  with  frank  delight — says: 
44.     Spoken  Title :  "Oh,  my  deah !     What  a  wonderful  com- 

plexion!     For  such  loveliness  I  could — ah, 
what  you  say? — embrace  you!" 
Betty  charmed  with  the  compliment  and  graciousness  of  it — Count- 
ess beams  upon  her. 

Scene  58. 

Ext.  Club  Drive— (SEMI  CLOSE-UP) 

Countess  turns  to  Mrs.  Vandergrift,  insists  on  instant  introduc- 
tion to  Betty — as  Mrs.  Van  introduces  them,  Countess  pats  Betty's 
cheek,  shakes  her  head  in  delighted  admiration. 

Scene  59. 

Ext.  Club  Drive— (CLOSE-UP) 

Cavendish  in  background — slightly  startled,  but  tremendously  inter- 
ested and  amused. 

Scene  60. 

Ext.  Club  Drive— (SEMI  CLOSE-UP) 

Mrs.  Vandergrift  presents  Mrs.  Lovering — Countess  gracious,  turns 
suddenly  with  Betty  toward  the  links,  laughs  cheerfully  about  at 
whole  group — says :  "Oh,  let  us  see  the  golf — I  adore  it !"  Leads 
way  off. 

Scene  61. 
Ext.  First  Golf  Tee 

Several  men  and  athletic  girl  or  two  (golf  costume)  arguing  over 
some  point,  as  one  prepares  to  drive  off  (man  about  to  drive  is 
one  of  those  who  refused  to  contribute  to  Red  Cross  at  Betty's 
request) — he  takes  off  coat,  lays  it  on  sand-box — just  then  all  see 
Countess  and  others  approaching,  turn  to  greet  them. 

Scene  62. 

Ext.  Golf  Links— (SEMI  CLOSE-UP) 

Countess  coming,  with  her  arm  in  Betty's — making  protege  of  her 

— others  following — as  they  go  thru  foreground  Cavendish  comes  in 


290  THE  IRVING  SYSTEM  OF  WRITING 

with  pair  of  gossipy  and  eager  dowagers — they  pause  in  foreground 
ask  him  question — with  air  of  mild  surprise  at  their  ignorance — he 
answers : 

45.  Spoken  Title:  "The    Countess?      Yes,    indeed!      She    is 

scandalously  rich — and  a  leader  in  Petro- 

grad  society!" 
Women  impressed,  press   eagerly   forward — Cavendish  grins   with 
sporting  enjoyment  of  game — follows  slowly. 

Scene  63. 
Ext.  First  Tee 

Countess  receiving  last  of  introductions  to  group  there,  all  charmed 
with  her — men  very  admiring  and  attentive — forgetting  their  fame 
for  her — she  turns  as  Cavendish  comes  up,  still  holding  Betty's 
hand  which  she  has  now  taken,  she  asks  doctor: 

46.  Spoken  Title:  "But   wheah    is   my   friend,    Saunders   Ju- 

lian? You  said  he  was  heah?" 
There  is  immediate  awkward  moments — Cavendish  starts,  looks  half 
around  at  Countess,  then  at  Mrs,  Vandergrift — Countess  follows  his 
glance  at  Mrs.  Van,  widens  eyes  as  Mrs.  Van  stiffens  and  says 
coldly:  "Mr.  Julian  is  not  being  received  here!"  Countess  stares, 
then  purses  lips  with  humorous  dismay — then  says : 

47.  Spoken  Title :  "Not  being  received !     Oh,  but  I  shall  re- 

ceive him !" 
All   listen  agog — Mrs.  Van  in   dilemma  between  dislike  of  Julian 
and  wish  to  remain  in  Countess'  good  graces. 

Scene  64. 

Ext.  First  Tee— (CLOSE-UP) 

Of   Countess.     Glances  down  at  Betty  with  subtle  hint  of  seeing 

how  she  will  take  it,  as  she  says: 

48.  Spoken  Title :  "Why,  Saundie  and  I  were — what  you  call  ? 

— great  pals,   in  Vienna!     I — why,   I   love 

him  like  a  brotheh !" 
As   Betty   starts  and   looks   up.   Countess   looks  off  quickly,   smiles 
about    as    if    innocent    of    any  intention    to    interest    Betty — Betty 
quickly  in  doubt  whether  to  like  this  remarkable  endorsement  of 
Julian  by  such  a  pretty  and  sophisticated  woman. 

Scene  65. 
Ext.  First  Tee 

Mrs.  Van  tries  to  smile — Countess  turns  from  her  to  men — says : 
"But,  do  not  let  us  interrupt  the  sport — proceed — play !" — one  of 
the  men  immediately  offers  her  his  place  in  game — she  laughs,  hesi- 
tates, all  urge  her — she  gives  Betty  a  pat,  accepts,  goes  forward 
to  tee. 

Scene  (:6. 

Ext.  Countess'  Back  Yard 

In  corner  of  hedge,  Soto  and  another  Jap  just  completing  thinning 


"THE  COUNTESS  CHARMING"  291 

out  place  where  one  can  get  thru — sort  of  secret  gate  (if  fence  is 

more  convenient,  make  it  concealed  swing  gate) — Soto  demon- 
strates by  passing  thru  once  or  twice — then  says : 

49.  Spoken  Title:                     "Now  the  honorable  Countess  go  through 

to  Mist'  Julian  hiss  house,  w'en  she  like 
ver'  sudden  to  beat  it !" 
Japs  grin  at  each  other,  gather  up  tools  and  debris,  start  away. 

Scene  dy. 
Ext.  First  Tee 

Countess  just  ready  to  tee  off,  all  watch,  she  drives,  all  look  after 
ball,  applaud,  as  if  at  very  successful  start — she  laughs,  steps  back 
to  sand-box,  stands  to  watch  her  opponent  drive  off — (he  is  owner 
of  coat  on  sand-box) — he  begins  fussily  to  place  his  ball — all  watch 
him. 

Scene  (:^. 

Ext.  First  Tee— (CLOSE-UP) 

Of  Countess.  Countess  stands  beside  man's  coat  on  sand-box,  looks 
down  at  it,  then,  looking  guardedly  off,  puts  her  hand  against  it, 
feels  of  it,  feels  pocket-book,  hesitates  an  instant,  looking  quietly 
about,  then  slips  her  hand  inside  coat,  brings  out  wallet,  with  pre- 
tense of  looking  off  toward  club,  as  if  charmed  with  view,  she  turns 
back  to  crowd,  looks  quickly  at  wallet. 

Scene  69. 

Ext.  First  Tee— (CLOSE  UP) 

Of  wallet.     Countess'  hands  hastily  open  it — it  is  fat  with  money 

— she  hastily  closes  it. 

Scene  70. 
Ext.  First  Tee 

Man  just  driving  off — Countess  turns — tucking  wallet  into  gown — 
Mrs.  Van  and  others  applaud  drive — Countess  claps  her  hands — 
calls  out  compliments — then  turns  and  smiles  indulgently  at  Mrs. 
Van  who  is  displaying  considerable  enthusiasm — Countess  says : 

50.  Spoken  Title:  "It  is  such  a  pleasha,  my  dear  Mrs.  Van- 

dergrift,  to  see  such  enjoyment  of  sports 
in  one  of  youah  matuah  yeahs !" 
She  smiles  with  pretended  admiration  as  if  utterly  unconscious  of 
the  sting  in  her  words — Mrs.  Van  starts,  bridles,  but  as  Countess 
turns  easily  away,  she  quells  her  anger  for  policy's  sake,  looking 
about  and  speaking  with  superior  patronage  of  Countess  to  those 
around  her — only  Betty,  beside  Mrs.  Van,  smiles  faintly  at  clever 
stab — looks  wonderingly  after  Countess. 

Scene  71. 

Ext.  First  Tee— (SEMI  CLOSE-UP) 

Countess  joins  her  opponent  on  caddie — is  just  ready  to  start  off 

for  continuation  of  game — opponent  turns  to  get  coat — picks  it  up 


292  THE  IRVING  SYSTEM  OF  WRITING 

— turns  to  her,  half  mechanically  feeling  for  wallet — Countess  ex- 
changing merry  badinage  with  Cavendish,  who  has  come  up  to  com- 
pliment her  on  her  play,  etc. — suddenly  coat-owner  misses  wallet — 
utters  exclamation  and  all  look. 

Scene  ^2. 
Ext.  First  Tee 

Owner  of  pocket-book  whirls — looks  about  for  it  on  sand-box,  on 
ground,  under  people's  feet,  etc. — explains  hastily — turns  to  fore- 
ground and  searches  pockets — dismayed— Countess  presses  up  with 
anxious  inquiry — he  tells  her  he's  lost  his  wallet,  etc. — she  all  sym- 
pathy instantly — takes  his  coat  and  pats  pockets  as  if  she  thinks 
SHE  can  find  it — he  searches  waistcoat  inner  pocket — she  comes 
close  to  him — all  sweet  and  grave  interest — pats  his  waistcoat  and 
his  hip  pocket. 

Scene  yZ' 

Ext.  First  Tee— (CLOSE-UP) 

Countess,  her  face  raised  to  his — with  the  emotional  sympathy  of 
her  sort — he  rather  a  fool  in  his  concern  over  his  money — she  takes 
his   hand — pats   it   soothingly — then   touches   her   breast — where   at 
that  moment  reposes  the  stolen  pocket-book — she  says: 
51.     Spoken  Title:  "Ah,  deah  friend!     I  have  great  sympathy 

for  youah  lost  money!  I  assuah  you — it 
touches  my  heart!" 
Countess  all  sympathy,  but  man  turns  away  from  her  rather  rudely, 
thinking  only  of  his  loss — he  says  hastily  that  he  must  go  to  the 
club  house  and  search — as  others  talk  with  him  another  of  the  men 
who  refused  to  sign  Betty's  subscription  book  turns  to  Countess. 

Scene  74. 

Ext.  First  Tee— (SEMI  CLOSE-UP) 

Countess  and  second  man — he  comments  on  other  man's  loss— she 
smiles  at  him — then  looks  off  through  lorgnette  as  if  in  anxious 
sympathy — then  looks  again  at  her  companion — he  flattered  by  her 
graciousness  to  him — turns  head — looks  back  toward  others  as  if 
in  comment — Countess  gracefully  put  her  lorgnette  against  his  tie, 
as  if  half  playfully — as  he  does  not  notice,  she  makes  quick  careful 
movement  to  lift  his  diamond  pin. 

Scene  75. 

Ext.  First  Tee— (CLOSE-UP) 

Lorgnette, — just  lifting  handsome  diamond  pin  from  tie — pin  comes 

out — starts  out  of  picture  on  lorgnette. 

Scene  76. 

Ext.  First  Tee— (SEMI  CLOSE-UP) 

Countess — takes  pin  calmly  from  lorgnette — holds  it  concealed  in 

hand — man  turns — she  looks  at  his  tie — suddenly  says : 


"THE  COUNTESS  CHARMING"  293 

52.     spoken  Title;  "But  what  has  happened  to  the  beautiful, 

exquisite  diamond  I  saw  you  weah,  today?" 
Man  grabs  at  his  tie — discovers  his  loss — aghast — while  suddenly 
— thinks — turns  to  Countess  who  pretends  to  be  shocked — then  he 
becomes  alarmed  and  cries  out,  "Why,  my  diamond  pin  has  disap- 
peared, too!"  everybody  turns— all  begin  to  look  about  as  if  to  see 
who  could  be  a  suspicious  character,  etc. 

Scene  'j'j. 

Countess  distressed — Mrs.  Van  assures  her  such  a  thing  has 
NEVER  before  happened  in  THIS  club — suggests  that  the  game 
can  go  on — but  Countess  shakes  head — "Oh,  no,  let  us  not  play  golf 
— let  us  go  to  the  club  house  and  search!" — all  start— two  robbed 
men  hurrying  ahead — rest  gossiping — Countess  calmly  slips  the  pur- 
loined pin  into  her  belt — (or  other  portion  of  gown) — joints  Betty 
— Cavendish  follows  her,  watching  her  curiously. 

Scene  78. 
Int.  Club  Lounge 

Vandergrift  and  one  or  two  friends  playing  a  rubber  of  whist — 
smoking  contentedly — robbed  men  hurry  in — tell  their  news — serv- 
ants up  and  listen — men  begin  to  inquire  of  servants  as  to  strangers 
about,  etc. — whist  game  breaks  up — crowd  gathers — Vandergrift, 
after  listening,  turns  to  phone  at  hand— tells  others  will  summon  de- 
tectives— calls  number. 

Scene  79. 
Ext.  Police  Station 

Policemen  and  detectives  pitching  horse-shoes  below  office  window, 
inside  which  sits  man  at  desk — ^he  answers  phone,  shows  surprise, 
calls   out  window — officers  gather — desk  man   singles   out  one   de- 
tective— calls  him  up. 
S2>-    Subtitle:  "Gentleman     Jess,"     Specialist     in     Upper 

Crust  Crimes  Detective  Boyle 

Scene  80. 

Ext.  Police  Station— (SEMI  CLOSE-UP) 

Boyle  at  window  talks  to  Lieut,  inside — (Boyle  sleek-looking  detec- 
tive, rather  conceited  and  thinking  well  of  self) — Lieut,  tells  him 
of  club  thefts — he  opens  eyes — then  grins — others  crowd  up  to  listen 
— ask  grinning  questions — Boyle  turns  to  go. 

Scene  81. 
Int.  Club  Lounge 

Vandergrift  in  foreground— has  set  down  phone— is  lighting  cigar 
—Countess  comes  with  Betty  and  others— looks  at  him,  he  sees  her 
—stops,  staring  at  her— taken  at  first  sight— she  smiles  at  him  with 
affectation  of  shyness — Betty  recognizes  that  thev  have  not  met — 
introduces  them— Countess  very  arch  and  flattering  to  Van— he 
hugely   pleased    with    her— fumbles    his    cigar— looks    foolish— she 


294  THE  IRVING  SYSTEM  OF  WRITING 

daintily  takes  it  from  him — says:  "Poor  man,  you're  dying  to 
smoke !" 

Scene  S2. 

Int.   Club   Lounge— (SEMI    CLOSE-UP) 

Countess  puts  cigar  into  Van's  lips — takes  his  match — lights  it- 
holds  it  while  he  puffs — she  smiles  winningly  into  his  face  as  she 
does  it,  as  if  only  solicitous  to  give  him  pleasure — old  Van  is  her 
slave — then,  as  he  starts  to  talk  to  her  she  suddenly  says:  "Oh, 
but  I  must  look  to  my  valuables — perhaps  I've  been  robbed,  too !" — 
she  turns  hurriedly  away — Van  starts  after  her — fascinated — Betty 
turns  unnoticed  away. 

Scene  83. 

Int  Ladies*  Cloak  Room 

Room  empty — Countess  shown  in  by  maid  who  points  to  where  her 
wrap  hangs — Countess  takes  it  down  quickly — examines  it — seems 
to  miss  something — exclaims — maid  startled — Countess  tells  maid  to 
run  to  tell  other  women  to  come  and  look  to  their  valuables — maid 
turns — runs  off — Countess  looks  after  her  an  instant — then  whirls 
to  coats  and  hooks. 

Scene  84. 

Int.  Ladies'  Cloak  Room— (CLOSE-UP) 

Countess  hastily  looking  for  valuables — after  instant,  she  finds 
purse  in  a  coat  pocket — takes  roil  of  bills — drops  purse  back  in 
pocket — then,  side  toward  audience,  hastily  raises  skirt — slips  bills 
into  stocking — suddenly  starts,  drops  skirt,  without  changing  atti- 
tude, begins  to  look  excitedly  through  folds  of  her  own  wrap. 

Scene  85. 
Int.  Cloak  Room 

Several  ladies  hurry  in  with  maid  who  summoned  them — all  ex- 
cited— Countess  turns  instantly  on  them — exclaims  : 

54.  Spoken  Title :  "My    emerald    brooch !      I    left   it   on    my 

wrap:  it,  too,  has  disappeared." 
All  excited — ladies  begin  to  hunt  through  wraps — Betty  comes  in 
— Countess  bemoans  loss — very  snobbish  type  of  woman  who  owns 
coat  from  which  Countess  took  money,  suddenly  discovers  her  loss 
— turns  angrily  on  maid — begins  to  berate  her. 

Scene  86. 

Int.  Goak  Room— (SEMI  CLOSE-UP) 

Snob,  maid  and  countess.     Snob  accusing  maid — Countess  turns  on 

her,  she  protests : 

55.  Spoken  Title:  "Madame!     Remember,  the  men  also  have 

been  robbed !    The  maid  is  as  innocent  as — 

as   I  myself!" 
Snob  abashed  at  rebuke  from  Countess — maid  looks  gratefully  at 
her — Betty  solicitous — other  women  chatter,  but  none  miss  anything 


"THE  COUNTESS  CHARMING"  295 

— Countess  describes  her  brooch  to  sympathetic  listeners— then  turns 
smilingly  to  Betty — shrugs,  "Oh,  well,  what  care  I  for  one  little 
brooch  ?" — adds : 

56.  Spoken  Title-  "Money  will  purchase  new  feminine  trink- 

ets,  my  deah — but  will  not  buy  back  lost 
moments  with  the  gentlemen !" 
Betty  smiles  in  spite  of  self — Countess  draws  her  to  door. 

Scene  87. 
Ext.  Club  Porch 

Fast  motor  draws  up  to  steps — Detective  Boyle  jumps  down — 
inquires   of   servant — then   hurries  in. 

Scene  88. 
Int.  Club  Lounge 

Vandergrift  and  other  men  discuss  robbery  with  robbed  men — 
Countess  and  Betty  come — men  all  attentive  to  Countess — as  she 
tells  of  lost  brooch — Boyle  comes  with  servant — robbed  men  quickly 
tell  story — woman,  whose  purse  the  Countess  emptied,  comes  hurry- 
ing in — tells  her  story — all  agog. 

Scene  89. 

Int.  Club  Lounge— (CLOSE-UP) 

Countess  watches  Betty  with  subtle  smile — Betty  looks  off — listens 

in  girlish  excitement — Countess  says  to  her: 

57.  Spoken  Title:  "Some  people  it  hurts  sadly  to  be — parted 

from  theah  money,  my  deah !" 
Betty  starts — looks   up — then   giggles — then   nods — looks   up,   as   if 
wondering  if  Countess  has  any  deeper  meaning  in  this  seemingly 
chance  remark. 

Scene  90. 
Int.  Club  Lounge 

Boyle  finishes  questioning  the  people  who  have  lost  money — comes 
to  foreground  to  Countess — looks  at  her  grimly — she  smiles  win- 
ningly  at  him — puts  out  her  hand  with  her  charming  impulsive- 
ness— says : 

58.  Spoken  Title:  "Ah,  capitan !     It  is  worth  the  loss  of  my 

little    brooch    to    meet    one    of    the    clevah 

American    detectives    of   whom    I    heah    so 

much !" 

Boyle    instantly    gratified — swells — becomes    abashed    at    the    same 

time — Countess  goes   on   flattering  him — she   smiles   into   his  eyes, 

as  she  tells  of  own  loss. 

Scene  91. 

Int.  Club  Lounge— (CLOSE-UP) 

Countess  smiles  into  Boyle's  eyes — he  perks  up— grins  rather  fool- 
ishly back— he  is  as  quickly  a  prey  to  her  wiles  as  the  rest  (Don't 


296  THE  IRVING  SYSTEM  OF  WRITING 

play  this  too  broadly — a  little  subtlety  will  be  funnier  and  more 
convincing). 

Scene  92. 
Int.  Club  Lounge 

Detective  tells  crowd  and  Countess  in  particular  that  he  will  find 
the  thief — Countess  thanks  him  prettily — turns  to  foreground  with 
Betty  and  her  mother,  while  Boyle  looks  surreptitiously  after  her 
— she  turns — smiles  a  little  archly  at  him  over  her  shoulder — he 
hugely  pleased — Cavendish  comes  up — speaks  to  Countess — she  says  : 
*'0h,  I  am  going  home  now;  you  needn't  come,  unless  you  like" — 
Then  to  Betty : 

59.  Spoken  Title:  "Let  me  take  you  home,  my  deah!     The 

men  will  be  too  much  excited  now  to  be 

interesting !" 
Betty  laughs — Mrs.  Lovering  assents — they  turn  to  Mrs.  Van  who 
comes  up  at  hand— explain  they  are  goings-Countess  says :     "These 
robberies  have  made  me  so  nervous,  my  deah!"     Mrs.  Van  nods 
sympathetically — then  says: 

60.  Spoken  Title:  "But  Countess,  I  must  claim  you  for  my 

house-party  at  Billowcrest  next  week !" 
Countess  all  smiles  instantly — "Oh,  but  surely!      How  delightful! 
I  will  by  all  means  come !" — bows — turns  away  with  Betty.     Mrs. 
Lovering  lingers  to  take  special  leave  of  Mrs.  Van — then  goes. 

Scene  93. 
Int.  Club  Lounge 

Boyle  talks  with  men  about  the  robberies — Mrs.  Van  comes  into 
foreground  as  men  talk — she  beckons  to  detective — he  crosses 
promptly  to  her — she  says : 

61.  Spoken  Title:  "I'm  giving  a  house  party  at  my  seaside 

home.     I  want  protection  from  such  thefts 

as  have  occurred  here  !" 
Boyle  interested — she  asks  him  if  HE  could  come  down  to  Billow- 
crest,  etc. — he  nods — promises  to  arrange  it — she  bows — goes. 

Scene.  94. 
Ext.  Betty's  Home 

Countess'  handsome  motor  brings  Betty,  Mrs.  Lovering  and  Count- 
ess to  curb — footman  opens  car  door — Mrs.  Lovering  out — Countess 
detains  Betty  by  hand — she  says : 

62.  Spoken  Title:  "I'm    suah    you    are    a    heart-breakeh,    my 

deah.      Are    you    youahself    quite    fancy- 
free  ?" 
Betty  laughs — ^looks  down. 

Scene  95. 
Ext.  Betty's  Home 

Countess  takes  Betty's  hand — quizzes  her  playfully — Betty  holds 
Countess'  hand  in  both  of  hers — abashed,  she  turns  one  of  Count- 
ess* rings  (handsome  ruby  solitaire  of  odd  design.) 


"THE  COUNTESS  CHARMING"  297 

Scene  96. 
Ext.  Betty's  Home 
CLOSE-UP  Betty's  fingers.    Turn  to  Countess'  ring. 

Scene  97. 

Ext.  Betty's  Home— (SEMI  CLOSE-UP) 
Countess  says: 

63.  Spoken  Title:  "You  must  know  Saunders  Julian  bettah. 

He  already  possesses  MY  heart!" 

Scene  98. 
Ext.  Betty's  Home 

Betty  laughs  shyly — alights — Countess  waves — Loverings  turn  to  go 
into  house  as  car  starts. 

Scene  99. 

Ext.  Lovering  Doorsteps 

Betty  and  mother  up — Mrs.  Lovering  pauses  to  look  at  a  vine — 

Betty  gazes  wistfully  at  her — at  last  says : 

64.  Spoken  Title:  "Mother,   if    Mr.    Julian  is    the    Countess' 

friend  he  may  certainly  be  ours!" 
Mrs.  Lovering  turns  quickly  on  Betty — stares  at  her  for  a  moment 
— Betty  abashed— then  Mrs.  Lovering  says:  "I  refuse  to  open 
that  subject  again  at  present,  my  dear.  You  will  obey  me  in  the 
matter !"  she  turns — goes  in — Betty  turns  slowly,  disappointed — 
then  her  lips  begin  to  set — she  will  take  action  on  her  own  ac- 
count— she  takes  a  resolution — ^goes  in. 

Scene  100. 
Int.  Countess'  Boudoir 

Countess  in — just  taking  oflF  wig,  with  huge  sigh  of  relief — begins 
to  get  out  of  woman's  togs  as  fast  as  possible — Soto  in  attendance 
— eagerly  helps — she  takes  cigar — lights  it — then  takes  out  bills, 
pocketbook,  etc.,  from  neck  and  stocking — lays  them  on  dresser — 
grins  then  takes  up  small  book  and  pencil — begins  to  make  record 
of  them.     (IRIS  OUT) 

65.  Subtitle:  At  the  Edge  of  an  Enterprise! 

Scene  loi. 

Ext.  Vandergrift  Home— (IRIS  IN) 

Oh  Vandergrifts  just  embarking  in  motor  with  servants  and  lug- 
gage for  their  seaside  home. 

Scene  102. 
Int.  Countess'  Boudoir 

Julian  in  Countess'  wig  just  finishing  dressing  in  smart  costume 
with  Soto's  assistance — near  at  hand  sits  Cavendish  looking  on 
with  amusement — another  Jap  man  is  packing  last  grip,  and  two 
large  trunks  stand  in  background — as  Julian  finally  becomes  the 


298  THE  IRVING  SYSTEM  OF  WRITING 

Countess,  "she"  turns  grinning  to  Cavendish — picks  up  jewel-box — 
takes  out  and  shows  the  "loot"  from  her  club  thefts — says: 
66.    Spoken  Title:  "So   far,   my  deah   Cavendish,   the   North 

Shore  Club  has  contributed  fairly  gener- 
ously to  my — campaign!" 
Cavendish  stares — then  laughs — Countess  gives  jewel-box  to  Jap 
to  pack — surveys  self  in  mirror — fixes  hair-pin  or  two — then  smiles 
approval — picks  up  two  cocktails  from  tray  at  hand — gives  one  to 
Cavendish — then  they  touch  glasses — toast  the  success  of  her  plans 
— suddenly  remembers  pipe  and  tobacco  jar — gives  them,  also,  to 
Jap  to  pack — laughs— drinks — then  whirls  to  wardrobe  trunk. 

Scene  103. 

Int.  Countess'  Boudoir— (SEMI  CLOSE-UP) 

Countess  snatches  gowns  from  wardrobe  trunk — holds  them  up  to 
display — laughs   proudly — (gowns   are   beautiful) — then   she   shows 
mass  of  exquisite  lingerie — Cavendish  comes  in — looks  at  it — grins 
— says : 
(>"].     Spoken  Title:  "But  no  one  will  see  THJS!" 

Countess  looks  up— laughs — says,  *Ts  that  so!" — then,  with  sly 
grin,  adds : 

68.  Spoken  Title :  "You    never    can    tell ;    there    might    be    a 

fire!" 
They  laugh — Countess  gives  word  to   start — leads   the  way  out — 
(IRIS  OUT) 

69.  Subtitle:  "Billowcrest"  Receives  its  Guests. 

Scene  104. 

Ext.  Lawn  at  Billowcrest — (Handsome  house  in  background) 
(IRIS  IN) 

On  gathering  of  guests  (all  in  flannels  and  sport  clothes) — some 
in  foreground  shaking  hands — others  just  arriving  in  motors  with 
bags.  etc. — some  just  coming  from  house,  as  if  they  have  had  time 
to  dress,  etc. — guests  in  foreground  fan  selves — speak  of  the  unusual 
heat,  etc. 

Scene  105. 
Ext.  Billowcrest  Lawn 
(Shot  across  lawns  to  show  sea,  if  feasible — might  get  it  at  the 

Virginia?) 

Scene  106. 
Ext.  Billowcrest  Porch 

Vandergfift  receiving  guests  with  cordial  informality — directing 
servants,  etc. — Betty  comes  from  house  with  mother — all  talk — 
motor  rolls  up  with  Countess  and  Cavendish — second  motor  behind 
with  Jap  maid  with  bags — Countess  descends  gayly — waves  to 
Mrs.  Vandergrift — she  hurries  up  steps. 


'THE  COUNTESS  CHARMING"  299 

Scene  107. 

Ext.  Billowcrest  Porch— (SEMI  CLOSE-UP) 

Mrs.  Vandergrift  greets  Countess  effusively — then  casually  shakes 
Cavendish's  hand — Mrs.  Vandergrift  very  much  interested  in  Count- 
ess— Mrs.  Lovering  and  Betty  come  from  house — join  them — 
Countess  instantly  shows  her  favor  for  Betty — draws  her  to  her 
side — pinches  her  cheek — beaming  on  her — nods,  smiles  at  Mrs. 
Lovering — other  guests  come  from  house — crowd  up,  to  be  no- 
ticed by  Countess — in  background  Detective  Boyle  wanders  in- 
sights Countess — braces  up  with  conscious  smile,  as  he  looks  for 
bow — Countess   sees   him — immediately   exclaims — beckons — speaks. 

Scene  108. 

Ext.  Billowcrest  Porch— (SEMI  CLOSE-UP) 
Boyle  flattered  and  delighted — comes  forward  with  somewhat  crude 
exhibition  of  gallantry — Mrs.  Vandergrift  explains  he  is  here  to 
prevent  repetition  of  thefts,  etc. — Countess  gives  him  her  hand 
with  unusual  favor — he  bows  over  it — swells  with  gratification 
afterward — Countess  smiles  on  Betty,  but  Betty's  response  is  a  little 
forced — she  is  jealous  and  doubtful  of  the  Countess — Countess  fans 
self — says : 
70.    Spoken  Title:  "Oh,  isn't  it  wahm?    I'm  dying  to  get  into 

the  surf !" 
Guests  about  to  applaud  this  idea — Boyle  looks  over  Countess' 
figure — thinks  he  wouldn't  mind  seeing  her  in  bathing  costume — 
says,  "By  all  means,  let  us  enjoy  a  bathe" — guests  begin  calling 
off,  announcing  to  others  the  plan — some  hustle  away  to  prepare 
at  once — Countess  goes  in  with  Mrs.  Vandergrift 

Scene  109. 

Ext.  Billowcrest  Porch— (SEMI  CLOSE-UP) 

Boyle  looks  after  Countess — fascinated,  as  she  goes — Cavendish  in 

background  grins  at  him — goes  in,  also. 

Scene  no. 

Ext.  Lawn  at  Billowcrest 

Young  people   race  to  get  bathing-suits — one  boy  comes   running 

— ^waving  his  suit. 

Scene  in. 
Ext.  Bath  Houses 

.Workmen  just  finishing  cleaning  them  out — boy  comes  running  with 
suit — goes  in  one — slams  door  in  terrible  hurry  to  be  first  in — 
after  moment,  two  pretty  tom-boy  girls  come  pell-mell  after  him 
and  into  next  compartment. 

Scene  112. 

Ext.  Lawn  at  Billowcrest 

Guests,  with  Betty,  come  laughing  and  chaffing  from  house  with 


300  THE  IRVING  SYSTEM  OF  WRITING 

bathing  suits — others,  who  will  not  swim,  turn  toward  beach — 
Countess  comes  merrily  out  with  bathing-suit  under  arm — guests 
capture  her — all  go  rollicking  off  toward  beach. 

Scene  113. 
Ext.  Beach. 

Boy  comes  racing  from  bath  house  in  bathing-suit^Kiances — ^yells 
triumphantly  as  he  pounds  on  girls'  door — girls  suddenly  open 
door — come  out — barely  inside  their  suits — just  finishing  last  but- 
tons— trio  race  for  water. 

Scene  114, 
Ext.  Bath  Houses 

Countess  arrives  with  Betty  and  others — is  assigned  end  bathhouse 
next  to  shrubbery — she  begins  to  loosen  her  clothing,  as  she  slips 
laughingly  in — tells  the  rest  she  will  beat  them  all  into  surf — 
others  scramble  for  bath  houses — Vandergrift  hurries  in  with  suit 
— looks  about — then  goes  into  compartment. 

Scene  115. 
Ext.  Porch  of  House 

Very  tall  and  thin  man  in  glasses  comes  gingerly  out  (striped  bath- 
ing-suit and  bare  feet)— looks  off — then  begins  very  cautiously  to 
step  down  path — favoring  his  tender  feet 

Scene  116. 
Ext.    Shrubbery. 

Boyle  wanders  slowly  in — looks  about — then  off,  as  if  trying  to 
get  good  view  of  beach — selects  place — then  can't  see — selects  an- 
other— looks  off — grins. 

Scene  117. 

Ext.  Beach — (As  seen  by  Boyle  from  a  little  distance) 
Bathers  beginning  to  come  from  bath  houses. 

Scene  118. 
Ext  Beach. 

Bathers  coming  out— look  about  for  Countess — see  her  door  still 
closed — laugh  at  her  slowness — Vandergrift  comes  hurrying  (fat 
and  funny  old  figure  in  bathing-suit) — all  wonder  at  Countess'  de- 
lay— Mrs.  Vandergrift  arrives  with  ladies  who  do  not  swim — all 
wait — at  last  Countess'  door  begins  to  open. 

Scene  119. 

Ext.  Beach— (CLOSE-UP  bath  house  door) 

It  opens  slowly  by  littles — presently  Countess  puts  her  head  out 

— sees  line-up  of  waiting  bathers. 

Scene  120. 
Ext.  Beach 
Line-up  of  expectant  bathers  waiting  to  see  Countess. 


"THE  COUNTESS  CHARMING"  301 

Scene  121. 

Ext.  Beach— (CLOSE-UP  bath  house  door) 

Countess  puts  out  a  bare  arm — waves  at  them,  as  if  to  shoo  them 
away — ^then  she  laughs — suddenly  flings  open  the  door — slips  out 
— a  marvel  of  a  figure  in  a  daring  suit — she  throws  kisses  toward 
camera — then  runs — ^jumps  through  foreground. 

Scene  122. 

Ext.  Beach-(SEMI  CLOSE-UP) 

Countess  jumps  in  among  bathers — catches  hold  of  two  of  the  men, 
whom  she  merrily  roughs  a  little — Betty  looks  on,  a  little  dis- 
approving— she  is  somewhat  out  of  conceit  with  the  Countess. 

Scene  123. 
Ext  Shrubbery 

Boyle,  in  his  look-out,  grins  wide-eyed  at  sight — then  decides  he  is 
too  far  away — looking  about,  moves  hastily  forward. 

Scene  124. 
Ext.  Beach 

Countess  leads  romping  on  the  sands — challenges  men  to  catch  her 
— they  try — she  whirls  to  foreground  just  as  a  very  sedate  looking 
little  man  comes  carrying  set  of  boxing  gloves — she  sees  them — 
pounces  upon  him — she  inquires  "Why  the  gloves?" — he  explains, 
with  the  seriousness  of  one  who  takes  exercise  as  a  duty,  that  he 
warms  up  with  them. 

Scene  125. 

Ext.  Beach  (SEMI  CLOSE-UP) 

Countess  laughs — seizes  pair  of  gloves — slips  them  on^hallenges 
him  to  spar — he  scared  at  her  exuberance — demurs — backing  away 
and  oflfering  gloves  to  younger  man,  who  takes  them  willingly. 

Scene  126. 
Ext.  Shrubbery 

Boyle  peering  out — becomes  again  dissatisfied  with  his  distance 
from  scene — again  moves  forward. 

Scene  127. 
Ext.  Beach 

Countess  boxes  with  young  man — dances  all  around  him — taps  him 
at  will — he  tries  to  tap  her,  but  can't  touch  her — crowd  applauds — 
old  Vandergrift  shakes  with  laughter — just  then  a  servant  comes 
to  him  with  telegram. 

Scene  128. 

Ext.  Beach— (SEMI  CLOSE-UP) 

Vandergrift  opens  telegram  with  sudden  interest,  while  servant 
waits — after  instant,  he  borrows  pencil  from  servant — begins  to 
write   translation   of  code    from   memory   on    telegram. 


302  THE  IRVING  SYSTEM  OF  WRITING 

Scene  129. 
Ext.  Beach 

Countess  boxing  with  young  man — he  tries  to  catch  her — leaves 
himself  wide  open — she  suddenly  steps  in — slugs  him  with  right 
and  left  so  vigorously  that  he  throws  up  his  hands  and  she  dances 
away  laughing,  while  crowd  applauds. 

Scene  130. 

Ext.  Beach— (SEMI   CLOSE  UP) 

Vandergrift  completes  translation  of  telegram,  as  his  wife  joins — 

curious  about  message — he  shows  it  to  her. 

71.  Insert:  (Code    telegram   with    translation   written 

on  it.)     No  market  for  Gramercy  take  rise 

on  fox  fur. 

(Translation:) 

No  dividend  by  U.  S    Biscuit  clean  up  by 

selling  short — written  over  code  words. 
Vandergrifts  grin  over  telegram— Vandergrift  folds  it — starts  ab- 
sently to  put  "it  into  his  pocket — finds  no  pocket  in  bathing  suit 
— Mrs.  Vandergrift  says  she  will  put  it  in  her  bag — he  just  giving 
it  to  her  when  Countess  (boxing-gloves)  comes  racing  in  from 
background  pursued  by  others — dodges  around  Vandergrift — she 
notices  telegram  as  Mrs.  Vandergrift  puts  it  in  bag — she  instantly 
affects  seriousness — inquires,  "No  bad  news,  I  hope?" — Vandergrift 
smiling  somewhat  foolishly  at  her  as  she  stands  with  hand  on  his 
arm.  reassures  her — she  says: 

72.  Spoken  Title:  "Oh,   yes!      Telegrams   do   not   mean   bad 

news  to  you  wonderful  market  kings!" 
Countess  all  smiles  at  Vandergrift — then  glances  covertly  at  Mrs. 
Vandergrift's  bag,  as  she  closes  it — talks  with  alluring  flattery  to 
Vandergrift  and  he  almost  coos  with  pleasure  in  her  attentions — 
Mrs.  Vandergrift  looks  at  them,  bridling  a  bit  with  jealousy  as 
they  turn  away — as  Countess  and  Vandergrift  go  toward  beach, 
Boyle  comes  slowly  in  from  background — eyes  fixed  on  Countess 
as  if  he  has  been  finally  drawn  from  cover  by  the  magnet — Mrs. 
Vandergrift  looks  at  him — sees  his  fixed  gaze — She  is  disgusted 
— says,  sarcastically : 

73.  Spoken  Title:  "Hardly  the  place  to  look  for  pickpockets, 

detective !" 
Boyle  starts — turns — then  grins — both  look  off. 

Scene  131. 
Ext.  Beach 

Bathers  in  group  about  Countess  as  she  sheds  gloves  and  pro- 
poses a  dance — she  grabs  Vandergrift  to  make  him  dance. 

Scene  132. 

Ext.  Beach— (SEMI  CLOSE-UP) 

Boyle  and  Mrs.  Vandergrift — he  embarrassed — then  begins  to  ex- 
plain that  he  must  neglect  no  portion  of  the  place,  etc. 


"THE  COUNTESS  CHARMING"  303 

Scene  133. 

Ext.  Beach— (SEMI  CLOSE-UP) 

Countess  ends  brief  dance  with  Vandergrift — laughs — then  turns  to 

foreground — looks  covertly  off  toward  Boyle  and  Mrs.  Vandergrift. 

Scene  134. 
Ext.  Beach 

Boyle  and  Mrs.  Vandergrift  (as  seen  by  Countess) — Mrs.  Vander- 
grift lectures  Boyle — then  turns  away  as  if  to  go  to  house — Boyle 
glances  regretfully  toward  camera — then  turns  to  return  to  grounds 
in  slightly  different  direction  from  Mrs.  Vandergrift. 

Scene  135. 

Ext.  Beach— (SEMI  CLOSE-UP) 

Countess  stands  looking  off  while  others  rollick  in  background- 
Betty  comes  in — Countess  slowly  and  absently  twists  ruby  ring  on 
her  finger — Betty  comes  close — looks  down  at  it — she  compresses 
her  lips — looks  up  at  Countess — Countess  starts  as  she  speaks — 
Betty  looks  at  ring — admires  it — then  asks  question — Countess  a 
little  taken  aback — then  answers: 

74.  Spoken  Title:  "This  ring?    Oh,  it — ah — was  the  gift  of  a 

very  deah  friend,  my  love !" 
Countess  watching  shrewdly — sees  Betty  is  jealous — she  is  suddenly 
enlightened — smiles  as  Betty  looks  at  ring,  then  off  somewhat  dis- 
turbed— Countess  smiles  again — shrewdly — starts  to  talk  to  Betty — 
when  others  come  in  and  say  it  is  time  for  the  bathing  now — point 
off  at  sea — Countess  looks. 

Scene  136. 
Ext.  Waterside 

Several  bathers  in  water — Vandergrift  comes  gingerly  in — wades 
out — rollicking  youngsters  splash  him — much  to  his  dismay. 

Scene  137. 

Ext.  Beach— (SEMI  CLOSE-UP)    (Shoot  toward  bath  houses  in 

background) 

Countess  is  urged  by  Betty  and  bathers,  among  whom  is  Cavendish. 

now,  to  enter  water — she  laughs — draws  back — looks  down  at  self 

— touches  her  becoming  coiffeur — shakes  head — she  is  perfectly  dry 

of  course — says  : 

75.  Spoken  Title :  "Oh,  deah,  no !     I  might  get  chilled !     Ive 

been  in  long  enough !" 
All  astonished — say,  "Why,  you  haven't  been  in  at  all" — she  looks 
at  them  a  moment,  smiling — then  suddenly  laughs,  whirls  and  runs 
away  for  bath-houses  in  background — HOLD  as  she  runs — others 
laugh  and  turn  toward  sea. 


304  THE  IRVING  SYSTEM  OF  WRITING 

Scene  138. 
Int.  Bathhouse 

Countess  comes  in — shuts  and  locks  door — pauses — thinks  swiftly — 
looks  at  her  hanging  clothes,  shakes  head — looks  down  at  self — 
then  up  at  window — ^decides  on  action — jumps  to  window  and  starts 
out,  head  first. 

Scene  139. 
Ext  Side  of  Bath  House 

Countess  in  bathing  suit  comes  out  head  first — turns  over — drops 
close  to  shrubbery — jumps  up  to  look  hastily  round — then  starts 
cautiously  oflF  toward  house. 

Scene  140. 
Ext.  Beach 
Bathers  in  surf. 

Scene  141. 
Ext.  Tool  House 

Lawn-Mower,  etc.,  by  open  door — Countess  from  shrubbery — looks 
cautiously  about — sees  tool-house  door  open — runs  to  it — peers  in — 
suddenly  laughs — steps  in. 

Scene  142. 

Int.  Mrs.  Vandergrift's  Bedroom 

Mrs.  Vandergrift  in  and  to  dresser — lays  her  mesh-bag  on  dresser 
— prinks  a  little — then  pauses — looks  off — she  is  somewhat  dis- 
gusted as  she  thinks  of  how  the  Countess  monopolizes  the  men,  etc. 
— then  begins  to  powder  her  nose,  etc. 

Scene  143. 
Ext.  Tool  House 

Countess  to  doorway — just  scrambling  into  overalls  she  has  found 
— puts  on  jumper  and  slouch  hat — laughs — starts  away. 

Scene  144. 
Ext.  Shrubbery 

Boyle  wandering  grimly  through — stops — looks  off  as  if  toward 
beach — grins — then  goes  on. 

Scene  145, 
Ext.  Shrubbery 

Countess  (in  overalls  and  hat)  in — looks  off — sees  Boyle  in  back- 
ground— ducks  down  out  of  sight — looks  off  and  up — suddenly 
starts   and   grins. 

Scene  146. 
Ext.  House 

A  second  floor  window,  Mrs.  Vandergrift  is  examining  self  in 
hand  mirror. 


"THE  COUNTESS  CHARMING"  305 

Scene  147. 
Ext.  Shrubbery 

Countess  in  overalls  grins  exultantly — rises — peers  about — then  sees 
something  else  interesting — goes  off. 

Scene  148. 

Int.   Mrs.  Vandergrift's   Bedroom 

Mrs.   Vandergrift   finishes   prinking   with   hand    mirror — lays   it   on 

dresser — picks  up  bag — then  lays  it  down  again — goes  out. 

Scene  149. 

Ext.  Near  Fruit  Tree — (Ladder  against  tree) 

Countess  in  overalls  comes  in — sees  ladder  and  basket  beside  it — 
thinks — looks  off — starts  to  take  ladder  down — just  then  Boyle 
comes  in  from  background  behind  her — sees  her — he  comes  for- 
ward as  she  gets  ladder  down — asks  question — Countess   starts. 

Scene  150. 

Ext.  Near  Fruit  Tree— (CLOSE-UP) 

Of  Countess  in  overalls — startled — stands  still — thinks — then  coughs 

behind  her  hand — coolly  pulls  hat  down  over  her  face  a  bit — turns. 

Scene  151. 

Ext.  Near  Fruit  Tree— (SEMI  CLOSE-UP) 

Boyle  inquiring  about  fruit — pays  little  attention  to  Countess,  as 
she  glances  at  him — she  replies  that  she  is  picking  fruit  for  the 
house,  etc. — bends  again  busily  to  ladder — Boyle  glances  at  her — 
then  shrugs — goes — she  works  a  moment — then  pauses — looks  after 
him — laughs — starts  quickly  to  carry  ladder  off. 

Scene  152. 
Ext.  House 

Mrs.  Vandergrift  out — starts  away — after  moment,  Countess  (over- 
alls) pops  up  behind  bush — peers  off — then  begins  to  drag  out 
ladder. 

Scene  153. 
Ext.  Beach 

Bathers  coming  out  of  water — have  had  enough — Betty  and  Caven- 
dish together — he  urges  one  more  plunge — she  shakes  head — races 
for  bath  house — he  shrugs — follows. 

Scene  154. 
Ext.  House 

Ladder  up— Countess  (overalls)  just  climbing — she  looks  around — 
then  hurriedly  scrambles  up — as  she  does  so,  a  rip  in  side  of 
trousers    shows   a    bare    limb. 


306  THE  IRVING  SYSTEM  OF  WRITING 

Scene  155. 

Int.  Mrs.  Vandergrift's  Bedroom 

Countess   (overalls)   suddenly  appears  outside  open  window — looks 

back — scrambles  in — looks  hastily  about — sees  dresser — runs  to  it. 

Scene  156. 

Int.  Mrs.  Vandergrift's  Bedroom— (CLOSE-UP)    (Dresser) 
Countess   (overalls)   looks  at  dresser — sees  bag — grabs  it — opens  it 
— finds  telegram — opens  that — reads  : 
•j(>.    Insert:  FLASH  of  telegram  and  translation  as  in 

Insert  73. 
Countess  laughs — thinks   cunningly — then  thrusts  telegram  back  in 
bag — looks  about — sees  jewel-case — grabs  and  opens  it — finds  neck- 
lace— lifts  it  up  with  slow  exultation. 

Scene  157. 

Ext.  Near  Fruit  Tree 

Boyle  comes  slowly  back — tramps  with  hands  behind  him — bored 
— comes  to  deserted  basket  of  fruit — stops — stares  at  it — then  looks 
up  tree  and  around  for  gardener — as  he  does  not  see  him,  he 
grows   curious — begins   to   walk  away — looking   for   him. 

Scene  158. 

Int.   Mrs.  Vandergrift's  Bedroom 

Countess  (overalls)  finishes  examining  necklace — suddenly  she 
starts  to  pull  up  leg  of  trousers — finds  rip^through  it  crams  neck- 
lace  into  her   bathing   stocking — then   whirls   toward   window. 

Scene  159. 
Ext  Bath  Houses 

Betty,  Cavendish  and  other  bathers  out — talk — then  start  to  stroll 
toward  house. 

Scene  160. 
Ext  Garden 

Boyle  peering  about — suddenly  sights  something  off — amazed — starts 
forward — shouting. 

Scene  161. 
Ext.  House 

Countess   (overalls)  just  descending  ladder — starts  at  shout — looks 
around — nearly    falls    off    ladder — then    slides    down    to    ground — 
whirls  to   run  away — Boyle   rushes  in — looks   up   at  window — then 
shouts  again — servant  runs  out — Boyle  shouts  warning  of  robbery  at. 
her — whirls  to  pursue  Countess — servant  runs  off — screaming  alarm. 

Scene  162. 
Ext.  Tool  House 
Countess  (overalls)  runs  in  in  panic — hesitates — gets  idea — runs  on. 


"THE  COUNTESS  CHARMING"  307 

Scene  163. 
Ext.  Lawn 

Mrs.  Van  talking  with  non-bathing  guests — servant  runs  in  with 
alarm — ^great  excitement — Mrs.  Van  runs  toward  house. 

Scene  164. 
Ext.  Tool  House 

Boyle  up — looks  in — then  looks  around — rushes  off,  on  Countess' 
trail. 

Scene  165. 

Ext.  Side  of  Bath  House 

Countess  in  overalls  rushes   from  bushes — leaps   to  window — then 

goes  in  head  first. 

Scene  166. 
Ext.  Lawn 

Guests  in  huge  excitement — bathers  come  up  to  get  news — Mrs. 
Van  comes  rushing  out  with  mesh-bag  and  jewel  case.  She  tells 
them  her  necklace  is  missing — Vandergrift  comes  panting  up — she 
whirls,  tells  him. 

Scene  167. 
Int.  Bath  House 

Countess  stripping  off  overalls — wads  them  up  with  hat — throws 
them  out  window. 

Scene  168. 

Ext.  Side  of  Bath  House 

Boyle  just  rushing  past — overalls  come  flying  from  window— hit 
him  in  head — he  stops — grabs  clothes — looks  at  them — recognizes 
them — stares — then  calls  out — looks  up. 

Scene  169. 
Int.  Bath  House 

Countess  hears  Boyle's  cry — is  scared — then  adopts  bold  measures 
— steps  to  window. 

Scene  170. 

Ext.  Side  of  Bath  House 

Boyle  staring  up — Countess  looks   out — sees  him — hesitates  an  in- 
stant— then  adopts  indignant  air — demands  : 
^^.     spoken  Title:  "Who  threw  those  horrid  overalls  in  heah?" 

Boyle  amazed — then  nonplussed — stares  from  overalls  to  Countess — 
then  tells  her  of  robbery. 

Scene  171. 

Int.  Bath  House— (CLOSE-UP) 

Countess,  as  seen  through  window  from  outside,  feigns  consterna- 
tion at  news — she  gestures  that  the  thief  must  have  run  on  toward 
the  sea. 


308  THE  IRVING  SYSTEM  OF  WRITING 

Scene  172. 

Ext.  Side  of  bath  house 

Other   men    hurry   in    and   join  detective — who   explains   briefly — 

Countess  waves  at  them,  urging  them  to  hurry  on  toward  sea  and 
catch  thief — they  go. 

Scene  173. 
Int.  Bath  House 

Countess    sinks    back    panting — then    laughs — pulls    necklace    from 
stocking  and  looks  at  it— (IRIS  OUT) 

78.  Subtitle:  Half  an  hour  later— suspicion ! 

Scene  174. 

Ext.  "Billowcrest"  porch 

Guests  gathered,   listening  to  Boyle  and  others  as  they   speculate 

about  robbery  with  the   Vandergrifts — the   Countess   comes  coolly 

in,  dressed  exquisitely  again — she   expresses   the  utmost  sympathy 

with  Mrs.  Van,  etc. — the  men  all  crowd  about  her  and  she  tells  her 

story. 

Scene  175. 

Ext.  "Billowcrest"  porch— (SEMI  CLOSE-UP) 
Betty  listening  doubtfully  to  Countess  in  background  as  she  talks, 
glib  and  suave — Boyle  stands  near  Betty,  grinning  admiringly  at 
Countess — Betty  looks  at  him,  then  touches  his  arm — he  turns  to 
her  a  little  impatiently — she  hesitates — then  smiles  very  sweetly  on 
him — he  takes  notice  quickly  and  bends  to  listen — she  says: 

79.  Spoken  Title:  "Doesn't    this    seem    a    little — er — queer? 

The  Countess — it  all  seems  so — fortuitous  !" 
Boyle  opens  his  eyes  in  amazement — he  looks  off  at  Countess- 
starts  to  make  indignant  protest — stops,  stares  at  Betty — then  hesi- 
tates— Betty  looks  at  him,  then  at  Countess — -she  herself  did  not 
quite  mean  to  cast  suspicion  on  the  Countess,  but  she  gets  the 
idea  from  his  manner — she  looks  Boyle  in  the  eyes  searchingly  as 
the  idea  grows  in  her  mind. 

Scene  176. 

Ext.  "Billowcrest"  porch— (SEMI  CLOSE-UP) 
Countess  as  she  turns  from  conversation  with  the  Vans  and  looks 
off — sees  Cavendish  looking  amusedly  at  her  from  background — she 
hesitates,  then  smiles  and  goes  straight  toward  him — Van  in  fore- 
ground turns  to  his  wife  with  sudden  recollection  of  his  telegram — 
asks  question — she  opens  bag  and  gives  him  the  wire — he  sighs  with 
relief  and  pockets  it. 

Scene  177. 

Ext.  "Billowcrest"  porch— (SEMI  CLOSE-UP) 

Countess   approaching   Cavendish,   smiling — says   a   casual    word-- 


"THE  COUNTESS  CHARMING"  309 

glances  warily  back — then,  covering  her  communication  with  play- 
ful manner,  says  quickly: 

80.  Spoken  Title:  "Wire   our  brokers   to   sell   U.   S.   Biscuit 

short.    It  will  pass  its  dividend !" 
She  makes  a  merry  added  remark  and  turns  easily  toward  Betty 
and  Boyle. 

Scene  178. 

Ext.  "Billowcrest"  porch— (SEMI  CLOSE-UP) 
Betty  and   Boyle  assume  casual  manner  as   Countess  comes   up — 
Countess  takes  Betty's  arm  and  holds  it— to  Boyle  she  smiles  effu- 
sively and  says: 

81.  Spoken  Title:  "Let    me    compliment    you,    detective,    on 

youah  powers  of  deduction  and  presence  of 
mind — in  so  closely  tracing  ouah  thief !" 
Boyle  can't  resist  her  charm  and  flattery — he  smiles  with  pleasure 
and  thanks  her — she  smiles  significantly  and  turns  away — Betty 
looks  after  her  doubtingly — then,  as  Boyle  turns  and  tells  her  'That 
woman  cannot  be  anything  but  honest!" — Betty  uses  her  own  smile 
on  him  and  says,  *Tm  sure  YOU  won't  make  any  mistake."  Boyle 
swells  up,  "Of  course  not !"  etc.  Then,  as  Betty  leaves  him,  he 
looks  back  after  Countess  and  rubs  his  chin  doubtfully.  (IRIS 
OUT.) 

82.  Subtitle:  A  Week  Later, 

The  "Countess"  plans  to  Entertain. 

Scene  179. 

Int.  Countess'  Drawing  room  (IRIS  IN) 

Julian  in  man's  clothes,  looking  about — he  pauses  before  statue, 
grins  at  it — then  turns  away  and  picks  up  phone — he  adopts  Count- 
ess' manner  and  gives  number — waits,  takes  out  cigar  and  puts 
it  in  mouth — then  speaks  to  phone,  with  Countess'  air — waits : 

Scene  180. 

Int.  Lovering's  Hallway 

Maid  at  phone,  calls  oflF  to  Betty — Betty  comes  quickly  and  an- 
swers phone. 

Scene  181. 

Int.  Countess'  Drawing  Room   (CLOSE-UP) 

Julian   at   phone — smiles   quickly,   then   carefully   adopts    Countess' 

manner  and  says : 

83.  Spoken  Title:  "Oh,  my  deah!     I  am  planning  a  lawn  fete 

at  the  Country  Club.    Will  you  come  oveh — 
at  youah  convenience,  and — ah — help  me?" 
Julian  talks  on,  with  elaborate  manner  of  Countess. 


310  THE  IRVING  SYSTEM  OF  WRITING 

Scene  182. 

Int.  Lovering's  Hallway  (CLOSE-UP) 

Betty  at  phone — she  considers,  hesitates,  at  last  assents — she  hangs 
up,  thinks,  purses  lips,  then  suddenly  makes  up  her  mind  to  go 
at  once — she  catches  hat  from  stand  nearby  and  starts  out. 

Scene  183. 

Int.  Countess'  Drawing  Room 

Julian  has  hung  up — stands  looking  at  phone  and  smiling  to  him- 
self in  fondness  of  Betty — then  he  smokes  and  looks  at  watch — 
then  strolls  out. 

Scene  184. 

Ext.  Before  Countess'  gate 

Betty  comes  hurrying  up  and  turns  in — as  she  does  so,  she  stops 

suddenly,  looking  up: 

Scene  185. 

Ext.  Countess'  House 

Julian  inside  window,  smoking  idly  and  looking  out — he  does  not 

see  her. 

Scene  186. 
Ext.  Countess'  gate 

Betty  gasps — then  suddenly  feigns  not  to  see  Julian — she  hesitates 
an  instant,  then  proceeds  toward  house. 

Scene  187, 

Int.  Countess'  Boudoir 

Julian  at  window,  looking  out,  suddenly  sights  Betty  and  starts 
back — he  looks  hastily  at  watch — then  peers  cautiously  out — then 
suddenly  whirls  and  calls  Soto  off  scene — he  grabs  at  gown  on  chair, 
discards  it — seizes  negligee — Soto  in — Julian  gives  him  hurried  in- 
structions— Soto  goes — Julian  scrambles  to  dress  in  negligee. 

Scene  188. 

Int.  Countess*  Drawing  Room 

Jap  butler  just  showing  Betty  in — Betty  asks  for  Countess  and 
indicates  that  she  just  phoned  for  her — Jap  bows  and  goes — Betty, 
perturbed,  walks  the  floor. 

Scene  189. 
Int.  Countess'  Boudoir 

"Countess"  just  completing  hasty  dressing,  is  in  wig  and  negligee- 
Jap  butler  comes — Countess  hurries  out. 

Scene  190. 

Int.  Countess'  Drawing  Room 

Betty,  walking  floor — suddenly  sees  statue — stops  short  and  stares — 


"THE  COUNTESS  CHARMING"  311 

then  she  shows  shocked  dislike  and  contempt  for  it— just  then 
Countess  comes  in  and  sees  her — grasps  her  dislike  for  statue 
and  comes  forward — Betty  sees  her  and  turns,  a  little  abashed — 
Countess  all  smiles,  says:  "You  do  not  like  my  statue?"  Betty 
hesitates — then  shakes  her  head  and  says: 

84.  Spoken  Title :  "Countess  !   No  American  lady  could  have 

such  a — thing  in  her  drawing  room !" 
Countess  upset — shrugs,  smiles,  Betty  shows  repugnance  for  statue 
— as  she  looks  at  it,  the  Countess  looks  at  her,  and  Julian's  manner 
shows  through  Countess'  veneer,  as  he  is  genuinely  upset  at  her 
rebuke,  etc.,  but  Betty  turns  and  looks  at  Countess — shows  that 
other  matters  are  on  her  mind — she  says : 

85.  Spoken  Title:  "I    thought    I    saw— er — your    friend    Mr. 

Julian — er — coming  in  !" 
Countess  starts — then  covers  it  and  turns,  all  surprise  and  smiles 
— she   shakes   her   head — "Oh,   no !      He   has   not  been   here,"    etc. 
Betty   shows    her   disbelief    despite   herself — Countess    laughs    sud- 
denly and  pats  her  shoulder — she  says : 
o5.     Spoken  Title:  "My    deah !      Do    you    mean    to    tell    me 

you    see    visions    of    him — wheah    he    is 

not?" 
Betty    hugely    embarrassed    and    annoyed — but    she    covers    it — as 
Countess   turns   away,   however,   to  her  desk,   Betty  looks  darkly 
after  her. 

Scene  191. 

Int.  Countess'  Drawing  Room — (CLOSE-UP) 

Countess  comes  to  desk  with  pile  of  invitations  on  it — looks  covertly 
back  at  Betty — covers  a  smile — then  turns  and  beckons  her — as 
Betty  comes  in.  Countess  shows  invitations  and  begins  to  talk 
casually  of  her  plans— (IRIS  OUT) 

87.  Subtitle:  A  Singular  Dilemma. 

Scene  192. 

Ext.  Julian's  Home— (IRIS  IN) 

Cavendish  alighting  from  motor — starts  toward  house — sees  Julian 
coming  off  scene — waits — Julian  up  as  if  just  arrived  home  from 
walk — he  is  in  a  blue  funk — greets — Cavendish  sees  something  is 
wrong  and  inquires. 

Scene  193. 

Ext.  Julian's  Home— (SEMI  CLOSE-UP) 
Julian  and  Cavendish — Julian  says: 

88.  Spoken  Title:  "I'm  in  a  singular  mess  of  trouble.     The 

girl  I  love  is  insanely  jealous  of  the  Coun- 
tess I  impersonate!" 
Cavendish  laughs  with  delight— he  chaffs — Julian,  utterly  serious, 
swears — Cavendish  laughs  again — at  last  he  says: 


312  THE  IRVING  SYSTEM  OF  WRITING 

89.  Spoken  Title:  "There's    only    one    cure    for    such    a    sit- 

uation !    You'll  have  to  kill  the  Countess !" 
Julian    stares — suddenly    the    idea    strikes    him    as    immense — he 
grabs    Cavendish   and,   talking   eagerly,   steers   him   toward    house. 
(IRIS  OUT) 

90.  Subtitle :  On  the  Night  of  the  Lawn  Fete. 

Scene  194. 

Int.   Countess'   Boudoir— Night— (IRIS   IN) 

Countess    just    completing    toilette — she    fusses    extravagantly    to 

have  every  effort  KILLING — ^jewels,  earrings,  etc. 

Scene  195. 

Int.  Countess'  Hallway — Night 

Jap  butler  just  opening  door  to  Betty — she  is  in  evening  gown 
and  wrap  and  has  called  to  go  with  Countess — she  inquires  for 
Countess — Jap  indicates  Countess  is  nearly  ready  and  starts  to  show 
Betty  into  drawing  room.  Betty  hesitates,  thinks,  then  decides  she 
will  go  up  to  Countess'  boudoir — tells  Jap  so  and  starts.  He  is 
startled,  starts  to  interfere,  then  doesn't  dare,  then,  distressed, 
trails  along,  dodging  to  and  fro  behind  Betty,  but  not  daring  to 
pass  her. 

Scene  196. 

Int.  Countess'  Boudoir — (Night) 

Shoot  past  Countess  to  show  her  resplendent  reflection  in  mirror  as 
she  surveys  her  completed  toilet — she  smiles  at  herself — suddenly 
she  starts  and  stares — in  mirror  appears  reflection  of  Betty  behind 
her.  Countess  whirls  in  sudden  half  panic — Betty  comes  in  and 
pauses,  marveling  at  beauty  of  Countess — Countess  glances  about 
to  see  what  things  may  be  in  view  that  will  betray  her. 

Scene  197. 

Int.  Countess'  Boudoir— (SEMI  CLOSE-UP)  (NIGHT) 
Countess,  back  to  camera,  smiles  at  Betty,  who  surveys  her  in 
wondering  astonishment — in  foreground  is  chair  with  suspenders 
on  it.  Countess  turns  as  if  to  set  out  chair  for  Betty — sees  sus- 
penders— covers  them  from  Betty  with  her  own  figure — grabs  them 
and  tosses  them  into  waste-basket — sees  a  man's  shoe  on  the  floor 
and  kicks  it  surreptitiously. 

Scene  198. 

Int.  Countess'  Boudoir— (CLOSE-UP)     (NIGHT) 

Man's   shoes   on  floor  by  dresser — Countess'   slippered   foot  kicks 

them  under  dresser. 


"THE  COUNTESS  CHARMING"  313 

Scene  199. 

Int.  Countess'  Boudoir— (SEMI  CLOSE-UP)  (NIGHT) 
Countess  all  smiles  as  she  gives  Betty  a  chair — then  she  looks  anx- 
iously about  for  other  betraying  things — hurriedly  she  turns  toward 
her  bedroom,  saying  she  will  get  her  wrap  and  be  ready — she  goes. 
Betty  does  not  sit — she  surveys  the  room — then  goes  to  dresser  and 
looks  in  mirror. 

Scene  200. 

Int.  Countess'  Boudoir— (CLOSE-UP)     (NIGHT) 
Betty  at  dresser,  looks  in  mirror — she  pretends  to  adjust  a  lava- 
liere  of  sapphires  she  wears — looks  off — then  down  at  dresser — sud- 
denly she  sees  an  open  letter  at  one  side — stares  at  it — then  picks 
it  up. 

91.  Insert:  Letter,    which    Mrs.    Lovering    wrote    to 

Julian  (insert  29)  in  which  she  asked  him 
to  cease  his  attentions  to  Betty, 
Betty  stares — she  is  instantly  confirmed  in  her  suspicions  that  the 
Countess  and  Julian  are  intimates — she  looks  again  at  dresser — she 
sees  a  man's  watch  and  picks  it  up. 

Scene  201. 

Int.  Countess'  Boudoir— (CLOSE-UP)     (NIGHT) 
Julian's  watch — she  turns  it  over  and  initials  or  monogram   S.  J. 
appear  on  it — then  DISSOLVE  IN  Julian  looking  at  his  watch  in 
miniature  on  the  watch  itself— DISSOLVE  OUT. 

Scene  202. 

Int.  Countess'  Boudoir— (CLOSE-UP)  (NIGHT) 
Betty  scared — convinced  the  Countess  is  a  thief  or  something  worse 
— thinks — then  controls  herself — lays  down  watch  and  letter  and 
turns — after  a  moment  the  Countess  hurries  in  in  wrap  ready  to 
go — sees  Betty  standing  apparently  unobserving  of  anything  and 
heaves  a  long  sigh  of  relief — she  says :  "Come,  my  deah !  I'm 
ready!"  and  leads  Betty  out.  Betty  follows,  looking  back  an 
instant  and  compressing  her  lips  with  a  resolve. 

Scene  203. 

Ext.  Lovering's  Home— (NIGHT) 

Mrs.  Lovering  out  to  Motor  in  evening  gown  and  wrap — and  maid 
attends  her.  As  she  gets  into  motor  messenger  comes  up  with 
note — he  speaks  to  maid — Maid  turns  quickly  with  letter  to  Mrs. 
Lovering  and  says: 

92.  Spoken  Title:  "For  Miss  Betty,  Madame." 

Mrs.  Lovering  takes  letter,  glances  at  it,  says  she  will  take  it  to 


314  THE  IRVING  SYSTEM  OF  WRITING 

Betty  and  car  starts  as  maid  turns  to  sign  messenger's  book — IRIS 
OUT. 
93-     Subtitle:  "And  all  the  World,  and  his  Wife,  were 

there!" 

Scene  204. 

Ext.  Club  Lawn— Night— (IRIS  IN) 

On  brilliant  throng  under  festooned  lanterns.  In  background — 
crowds  in  porches— dancing  inside.  Countess,  Mrs.  Van,  Mrs.  Lov- 
ering  and  Betty  receiving  late  guests.  Betty  is  without  her  laval- 
liere  now,  but  doesn't  notice  its  absence — as  last  guests  pass  in, 
Boyle  comes  from  background  and  speaks  to  Countess — she  greets 
him  as  if  gratified  to  see  him.    Mrs.  Van  looks  at  him  askance. 

Scene  205. 

Ext.  Club  Lawn— (Night)     (SEMI  CLOSE-UP) 

Boyle,   Countess   and   Betty — Boyle  assures   Countess  he  is  taking 

every  precaution  to  watch  for  thieves,  etc.,  tonight — he  says: 

94.  Spoken  Title:  "There      won't     be      no     thefts     tonight, 

Dutch-ess  !    Or  if  they  is,  we'll  guard  every 
exit  and  pinch  the  thief  !" 
Countess  says  she  is  sure  he  will  protect  them  all — smiles  and  turns 
to  walk  toward  guests  with   Mr.   Van   and   Mrs.   Lovering — Betty 
lingers  and  then  turns  quickly  to  Boyle — she  draws  him  aside. 

Scene  206. 

Ext.  Club  Lawn— (Night)     (SEMI  CLOSE-UP) 

Betty  and  Boyle  against  dark  background.    Betty  indicates  Countess 

off  and  savs: 

95.  Spoken    Title:  "It's    terrible— but    SHE'S    the    thief!      I 

found  Mr.  Julian's  watch — and — and  a  let- 
ter at  her  house  tonight  I" 

Boyle   amazed — then    skeptical — but   Betty   is   so   sure   and   earnest 

that  she  begins  to  convince  him — she  says : 
g6.    Spoken  Title:  "Wherever    she    goes,    there    are    thefts — 

and  there  were  none  before  she  camel" 

Boyle  assents,  wondering — then   he   sets   his  jaw — he  promises  he 

will  watch  the  Countess.    Betty  hurries  away. 

Scene  207. 

Ext.  Club  Porch 

Countess,  Mrs.  Lovering  and  Mrs.  Van.     Mrs.  Lovering  suddenly 
remembers  the  note  she  has  for  Betty.     She  takes  it  out  and  turns 
to   look  back   for   Betty.      Betty   comes   hurrying   in — receives   her 
note  and  opens  it  to  read.    Countess  watches  her. 
97.    Insert:  (NOTE) 

My  dear  Miss  Lovering : 


"THE  COUNTESS  CHARMING"  315 

I^  wonder  if  you  are  ready  to  report  sub- 
scriptions from  the  Club  for  the  Red  Cross 
work.      We    are    making    up    our    reports 
and — 
Betty  looks  up  in  dismay.     Countess  inquires  pleasantly  what  is 
the  matter.     Betty  shows  her  the  note.     Countess  smiles — 

98.  Spoken  Title:  "Oh!     Mr.  Julian  told  me  the  Club's  con- 

tributions would  be — ah — considerable  !" 
Betty  starts  at  mention  of  Julian  and  draws  back  a  step.  Countess 
smiles  subtly — ^just  then  Mr.  Van  comes  to  claim  dance  with 
Countess  and  as  she  turns,  smilingly,  to  him,  he  shows  the  foolish- 
ness of  the  senile  old  beau,  flattered  by  young  beauty.  Betty  and 
Mrs.  Van,  with  differing  expressions  of  disgust,  watch  them  go. 
Cavendish  hurries  up  and  claims  dance  with  Betty — she  assents. 

Scene  208. 

Ext.  Club  Lawn— (Night) 

Boyle  comes  up  to  two  plain-clothes  officers  and  tells  them  his 
new  suspicions — they  are  surprised — he  tells  them  to  watch  care- 
fully and  sends  one  off  in  one  direction  and  another  in  another. 

Scene  209. 

Int.  Club  dancing  room — (Can  use  Lounge)  (Night) 
Vandergrift  and  Countess  dance  to  a  stop  in  corner  by  conservatory 
entrance  and  almost  at  same  moment  Betty  and  Cavendish  dance 
up  and  pause-|-all  laugh — then  Countess  compliments  Van  on  his 
dancing.  He  is  foolishly  pleased.  Cavendish  claims  next  dance 
with  Countess  and  Van  turns  to  Betty,  who  consents  to  dance  with 
him.  They  walk  away.  Cavendish  turns  hastily  to  Countess  and 
says  : 

99.  Spoken  Title:  "U.   S.   Biscuit  passed  its  dividend  today, 

and    the    stock    tumbled.      Your    brokers 

cleaned     up     about    ninety    thousand     for 

you !" 
Countess  laughs — then  as  Cavendish  gives  her  a  list  of  her  win- 
nings, she  tells  him  to  let  her  slip  into  conservatory  alone  and  look 
it  over.    He  assents.     She  slips  into  conservatory.     He  turns  easily 
away. 

Scene  210. 

Int.  Dancing  Room — (Night) 

Betty  and  Van  walk  in  near  orchestra — orchestra  starts  to  play. 
Van  wants  her  to  dance.  She  is  about  to  do  so  when  she  puts  her 
hand  up  to  her  throat  and  misses  her  lavalliere — instantly  she  is 
startled— then  frightened — looks  all  around— then  tells  Van  she  has 
lost  her  lavalliere.  He  starts  and  stares.  Then  says,  "Thieves, 
again!" — Betty  shocked  and  frightened — Van  looks  around — one  of 
Boyle's  officers  is  near  exit  in  background.  Van  calls  to  him  and 
gives  alarm. 


316  THE  IRVING  SYSTEM  OF  WRITING 

Scene  211. 

Int.  Dancing  Room— (LONGER  SHOT)     (Night) 
Excitement  about  Betty  and  Van,  as  officer  runs  up — people  stop 
dancing  and   crowd   up.     Betty  half   hysterical.     Van  gives   hasty 
orders — officer  runs  off. 

Scene  212. 

Int.  Conservatory— (Night) 

Countess  looking  over  memo  of  her  winnings  (or  change),  grin- 
ning, suddenly  she  starts  and  listens — then  parts  foliage  and  looks 
off. 

Scene  213. 

Int.  Conservatory— (Night)     (SEMI  CLOSE-UP) 
Near  door  in  side  of  conservatory,  opening  on  garden — two  officers 
stand — one  has  just  rushed  in  from  outside  excitedly  and  is  warning 
the  other — he  says: 
100.     Spoken  Title :  "De  dip's  busy  agin !     Boss  says  pinch  dat 

Dutch-ess  !     She's  the  light-fingered  one !" 
Officers  plan  quickly — one  shuts  door  and  sets  his  back  against  it — 
other  starts  toward  camera. 

Scene  214. 

Int  Conservatory— (Night)     (SEMI  CLOSE-UP) 
(Dancing   room   in    far   background.)      Countess,   in    alarm,   turns 
toward  camera — she  does  not  know  what  to  do — looks  toward  dan- 
cing room  in  background — hesitates. 

Scene  215. 

Int.  Near  Entrance  to  Conservatory — (Night) 

Dancing  crowd  pressing  that  way.  Boyle  and  officers  ahead.  Guests 
pointing  and  saying  Countess  went  into  conservatory.  Some  show 
eager  curiosity,  others  show  doubt — some  are  protesting  and  indig- 
nant.    Betty,  frightened,  in  care  of  Van. 

Scene  216. 

Int.  Conservatory — (Night) 

Countess  moving  toward  dancing  room  in  background — stops  sud- 
denly— officers  appear  at  entrance.     Countess  whirls  and  runs  back. 

Scene  217. 

Int.  Nook  in  Conservatory — (Night) 

Countess  in — officer  against  door  in  background.  Countess  stops — 
looks  down  at  herself — fingers  gown,  etc. — thinks  it  will  be  fatal 
foi;  her  to  be   caught   and   searched — suddenly   whirls — ^and   then 


"THE  COUNTESS  CHARMING"  317 

abruptly  sees  light-switch  at  hand — she  steps  to  it— hesitates — lis- 
tens— then  laughs  daringly — then  snaps  out  lights. 

Scene  218. 

Int.  Beside  Conservatory  Garden  Door — (Night) 
Officer  steps  into  patch  of  moonlight,  looking  toward  dancing-room. 
Countess    slips    in   behind    him    and    swings    on    him,    sending   him 
crashing   among   the   plants.     Then   she   whirls   to   door— she   can 
barely  be  seen  as  she  fumbles  at  lock. 

Scene  219. 

Int.  Conservatory — (Night) 

Officers  under  moonlit  glass  hear  crash,  etc.,  and  point  off  toward 

door — rush  that  way. 

Scene  220. 

Int.  Garden  Door— (Night) 

Officer  on  floor  in   moonlight,  tries  to  get  up,  holding  his  head. 

Countess   fumbles   helplessly  at  unfamiliar  lock  of   door,  but   she 

can  only  be  seen  as  dark  figure.     Other  officers  rush  in — Countess 

shrinks    into    absolute    darkness    beside    moonlit    window — officers 

rush. 

Scene  221. 

Int.  Garden  Door— (Night)  (SEMI  CLOSE-UP) 
Officers  in  moonlight.  A  hand  comes  out  of  darkness  in  a  punch 
and  an  officer  goes  down — Two  others  rush  into  darkness.  Next 
instant  one  comes  staggering  out,  his  hands  up,  and  falls.  Then 
the  other  comes  headlong  as  if  thrown  from  a  hiplock— crowd  turns 
in  a  panic. 

Scene  222. 

Int.  Conservatory  Entrance — (Night). 
Crowd  in  a  panic  run  toward  dancing  room. 

Scene  223. 

Ext.  Conservatory  Garden  Door — (Night) 

Door  opens  suddenly  and  Countess  bursts  out — she  is  torn  and  dis- 
heveled but  gloriously  excited — she  hesitates  an  instant,  thinks,  then 
gathers  her  skirts  and  runs  off  into  darkness. 

Scene  224. 

Int.  Dancing  Room — (Night) 

Cavendish,  near  entrance,  watches  the  excited  crowd  near  conser- 
vatory— he  grins  a  little — then,  not  wishing  to  be  seen,  he  turns  and 
goes  out  toward  front. 


318  THE  IRVING  SYSTEM  OF  WRITING 

Scene  225. 

Ext.  Cub  Drive— (Night) 

Jap  chauffeur  at  Countess'  car — Countess  runs  up  quickly — warns 

him   to   be   quiet — she   tells   him   quickly   her   plan — points   off   and 

around  club,  etc. — ^jumps  into  car  and  he  leaps  to  wheel  to  start 

away. 

Scene  226. 

Int.  Conservatory — (Night) 

Officers   nursing   injuries   and   talking   excitedly   as    they   look    off 
toward  garden  door — one  says: 
loi.     Spoken  Title :  '"Bedad,    dey   wasn't   no   Dutch-ess   behind 

DAT  punch!" 
Officers   all   agree   that  no   woman   ever   put   up   the   scrap   which 
just  defeated  them — they  begin  gingerly  to  go  forward,  now  draw- 
ing clubs  and  guns. 

Scene  227. 

Ext.  Front  of  Club— (Night) 

Countess'  car  just  stopping — she  lies  on  cushions  inside  as  if  in 
faint — Jap  chauffeur  leaps  down  and  starts  to  go  into  Club — 
Cavendish  comes  to  steps  at  hand,  looking  off — Jap  stops  short, 
stares  at  him,  then  calls,  Cavendish  turns,  then  comes  running. 

Scene  228. 

Ext.  Front  of  Gub— (SEMI  CLOSE-UP) 

Cavendish  at  car,   opens  door  and  stares  at  Countess — she  opens 
an  eye,  sees  him,  looks  guardedly  off,  then  says  quickly : 
IQ2.     Spoken  Title:  "Tell   the   detectives   their   'Dutch-ess'   has 

been  robbed — and  fatally  hurt,  here  in  the 
porch.  You're  taking  her  home — to  die!" 
Cavendish  hardly  gets  it  for  an  instant,  then  he  grasps  the  idea 
and  whirls — hesitating  an  instant,  he  runs  into  the  Club — Countess 
directs  chauffeur  to  work  over  her  as  if  she  is  hurt,  etc. — he  be- 
gins and  she  settles  back  as  if  unconscious. 

Scene  229. 

Int.  Dancing  Hall— (Night) 

Cavendish  in  and  to  crowd — he  shouts  his  news  that  Countess  has 
been  robbed — all  turn  and  stare — some  astonished,  others  curious, 
some  satisfied  that  this  supports  their  opinion  that  the  Countess 
is  innocent — Betty  horrified — they  press  around  Cavendish  and  he 
turns  toward  door. 

Scene  230. 

Ext.  Front  of  Qub— (Night) 

Chauffeur  and  maid  come  to  car  and  work  over  apparently  uncon- 
scious Countess — Cavendish  and  many  of  crowd,  including  Betty, 


"THE  COUNTESS  CHARMING"  319 

come  running  out— Cavendish  into  car  with  maid — he  warns  crowd 
away — Betty  in  f.  g.  looks  on  in  terror — chauffeur  to  wheel — drives 
away— Betty  turns  to  camera,  terrified — (IRIS  OUT) 

Scene  231. 

Int.  Dancing  Room — (Night) 

Officers  in,  excited,  inquiring— Boyle  much  chagrined  and  mystified 
— Mrs.  Van  comes  to  him  and  sneers  at  his  failure — crowd 
presses  about,  indignant  at  charge  he  made  against  Countess. 

Scene  2^2. 

Ext.  Front  of  Club— (Night) 

Mrs.   Lovering  and   Betty   come   to   take  their   car— Betty   sick   at 

heart — her  mother  kinder  than  usual — they  enter  their  car. 

Scene  233. 

Int.  Countess*  Drawing  Room— (Night) 

Cavendish,  chauffeur,  maid  and  Soto  come  in,  carrying  the  torn 
and  disheveled  Countess — come  to  foreground — suddenly  Countess 
rouses  miraculously  and  struggles  to  her  feet  in  foreground — 
then  she  turns  on  Cavendish  and  gives  swift  instructions— points 
to  phone — then  she  turns  and  looks  around.  She  catches  sight  of 
pier-glass  at  hand,  she  looks  at  it,  then  at  Soto — then  she  grins 
and  says  to  Soto : 
103.     Spoken  Title  :  "Soto,  you've  helped  me  do  many  a  strange 

thing — but  tonight  comes  the  supreme  test 
of  your  loyalty.  We  must  commit — mur- 
der!" 

Scene  234. 

Int.  Countess'  Drawing  Room— (NIGHT)  (SEMI  CLOSE-UP  of 
Pier  Glass) 

Countess'  reflection  as  she  stands  pointing  to  herself — Soto's  reflec- 
tion beside  her  as  he  stares,  then  suddenly  breaks  into  enlightened 
grin.  Cavendish  steps  into  reflected  scene  with  phone  in  his  hand 
and  asks  Countess  a  question.  Countess  turns  with  a  laugh  and 
gives  his  instructions — he  begins  to  phone. 

Scene  235. 
Int.  Betty's  Bedroom. 

Betty  stands  weeping  before  dresser — her  mother  tries  to  comfort 
her  and  is  loosening  her  gown  for  her — suddenly  Mrs.  Lovering 
starts  and  stops — and  then  from  bosom  of  Betty's  gown  lifts  out 
the  lost  lavalliere  and  holds  it  up.  Both  stare— then  Mrs.  Lovering 
shows  the  lavalliere  clasp  to  be  bent  and  broken.  Betty  suddenly 
collapses  and  falls  sobbing  into  her  mother's  arms. 


^ 


320  THE  IRVING  SYSTEM  OF  WRITING 

Scene  236. 

Int.  Countess'  Boudoir— (NIGHT) 

Countess  in  with  Cavendish — servants  busy  about.  Countess  beck- 
ons Cavendish  to  foreground  and  opens  drawer — from  it  she  takes 
papers  and  shows  them  to  him — she  says : 

104.  Spoken  Title:  "I've  been  preparing  for  a   sudden  finish, 

my  deah  doctah.     I've  disposed  of  my — ah 
—loot,  foh  cash!" 
Cavendish  takes  papers  in  hand  and  stares  at  them. 

105.  Insert:  (Papers  in  Doctor's  hands.     An  end  of  a 

check  shows  at  his  side,  but  on  top  is  a 

letter.) 

Red  Cross  Society 
Brainerd  Bldg.,  City, 

Gentlemen : 
Enclosed  amount  was  collected  by  Miss 

Betty  Lovering,  and  friends,  from  members 

of  the  North  Shore  Club.     List  of  donors 

appended  so  that  you  can  publish  it. 
Sincerely, 

Saunders  Julian. 

(After  time  for  reading  elapses,  Dr.'s  hand 

moves   list  over   face   of   letter  and   IRIS 

narrows  down  to  show : 

Mr.  and  Mrs.  Esmond  Vandergrift.  .$50,000 

(Dr.'s  hand  moves  to  bottom  of  list  and 

IRIS  shows) 

Countess  Raffelski $10,000 

Countess  laughs  at  Cavendish's  astonishment — ^then  shows  one  more 
letter.     She  says : 

106.  Spoken  Title:  "And  a  copy  of  this  will  reach  each   of 

the  generous  contributors  tomorrow  morn- 
ing, with  their  newspapers !" 

107.  Insert:  (Letter) 

My  Dear  Mrs.  Vandergrift: 

Your   lost   necklace   has   been   sold   and 
the  proceeds  given  to  the  Red  Cross  So- 
ciety, as  you  will  see  by  the  morning  pa- 
pers.    Unless   you  court   undesirable   pub- 
licity, no  one  will  ever  know  that  you  are 
not  as  generous  as  you  appear. 
Yours  truly, 
Marka,  Countess  Raffelski. 
Cavendish  turns  from  letter,  stares  at  Countess,  then  roars  with 
laughter.      Countess    grabs    him   and    covers    his    mouth    with    her 
hand — she  looks  around  with  mock  apprehension  and  says : 

108.  Spoken  Title:  "My  deah  doctah!     Don't  you  realize  that 

I  am  dying?" 
Both  laugh — then  Countess  turns  to  Soto  and  gives  papers  to  him, 


"THE  COUNTESS  CHARMING"  321 

telling  him  to  see  to  their  immediate  delivery,  etc. — then  she  begins 
to  tell  further  plans  to  Cavendish— (IRIS  OUT) 
Subtitle:  A  Breakfast  Appetizer 

Scene  2^7, 

Ext.  Corner  of  Terrace— (IRIS  IN) 

On  Mrs.  Vandergrift  at  breakfast,   against  background   of   vines. 

She  is  staring  at  the  paper  already  spread  in  her  hands — she  reads : 

Insert:  (Double  Column  Headlines) 

Countess  Raffelski  Dying 
Shock   of    brutal    robbery   at    Club    causes 
heart  failure,  physician  says:     After  a  mo- 
ment PAN  (or  shift  paper)  to  show  head- 
lines in  another  column : 

Big  Gifts  to  Red  Cross 


Country  Club  members  make  extraordinary 
contributions  to  worthy  cause.. 


(Item  headed  by  list  of   contributions   in 

bold  face) 

Mr.  and  Mrs.  Esmond  Vandergrift,  $50,000 

(etc.) 
Mrs.  Vandergrift  stares  at  paper — then  picks  up  open  letter  and 
stares  at  that.     She  grimaces,  as  she  recognizes  her  predicament. 
She  starts  to  rise — stops,  looks  at  letter  again — then  crushes  it  in 
her  hand  and  sits  staring  at  paper.     (IRIS  OUT) 

Scene  238. 

Int.  Countess'  Hallway— (IRIS  IN) 

On  Cavendish  facing  tearful  Betty,  who  has  just  arrived  and  is 

begging  to  be  allowed  to  go  up  and  see  Countess — as  they  talk. 

Soto  at  door  listens — Dr.  tells  Betty  that  Countess  is  dying,  etc. 

Soto  hears  ring  and  opens  door.     Boyle  presses  in — sees  (Tavendish 

and  Betty  and  comes  at  once  to  them. 

He  pulls   from  his  pocket  a  torn  bit  of  finery  and  buttons  and 

says  roughly: 

Spoken  Title:  "Found  in  the  Club  conservatory — part  o' 

de  Dutchess's  glad  rags !" 
Betty  and  Cavendish  stare — Boyle  wants  to  know  what  about  it. 
Cavendish  turns  on  him  and  orders  him  to  be  quiet — points  upstairs 
and  tells  him  Countess  is  dying.  Boyle  hushes  abruptly,  he  looks 
at  Dr. — then  at  Betty.  She  opens  her  hand  and  holds  up  her  laval- 
liere,  sobbing  and  telling  him  of  her  sad  mistake.  Boyle  abashed, 
stares  from  lavalliere  to  the  bit  of  finery  he  holds.  Betty  again 
begs  Cavendish  to  let  her  see  the  Countess.  Cavendish  hesitates — 
at  last  he  assents  and  sends  Soto  to  lead  the  way.  Betty  follows — 
Cavendish  draws  Boyle  toward  drawing  room. 


322  THE  IRVING  SYSTEM  OF  WRITING 

Scene  239. 

Int.  Countess'  Bedroom 

In  her  wonderful  bed,  Countess,  magnificently  gotten  up  in  lace 
gown,  etc.,  grinningly  reads  the  paper— Jap  maid  comes  running 
and  warns  her.  Countess  in  panic,  shrinks  under  covers.  Maid 
whisks  away  paper — and  then  Betty  comes  timidly  in,  led  by  Soto, 
who  sighs  with  relief  as  he  sees  Countess  simulating  extreme 
illness.    Betty  to  bed. 

Scene  240. 

Int.  Countess' Bedroom— (CLOSE-UP) 

Countess  on  pillow — simulating  desperate  illness.  Betty  sinks  beside 
her — Countess  turns  her  head.  Betty  sobs  and  shows  lavalliere, 
in  weeping  confession  of  her  mistake — then  she  drops  her  head  on 
Countess'  breast.  Countess'  eyes  open  wide  over  her  head  and 
she  grins  with  huge  relish  of  this — but  she  carefully  moves  her  hand 
and  puts  it  on  Betty's  head.  Betty  sobs  and  talks — Countess 
listens. 

Scene  241. 

Int.  Countess'  Hallway 

Cavendish  arguing  with  Boyle,  who  looks  again  at  torn  finery  in 
his  hand  and  is  again  suspicious.  He  wants  to  investigate  the 
Countess.  He  insists  upon  going  upstairs.  Cavendish  argues — but 
detective  insists  and  starts.     Cavendish  desperate,  goes  with  him. 

Scene  242. 

Int.  Countess'  Bedroom 

Countess  feigns  to  speak  with  difficulty  at  last — stops  Betty's  con- 
fession and,  begging  for  forgiveness,  she  says: 

112.  Spoken    Title:  'There's    nothing   to    foahgive,    my   deah. 

Now  let  me — straighten  this — tangle  about 
Mr.  Julian — while  I  have  time !" 

Betty  starts  and  gasps — Countess  quiets  her  with  weak  gesture — 

then  says: 

113.  Spoken  Title:  "Julian  saved  my  life — in  Belgium — where 

we  were  together  on — secret  service  foah 
the  American  government.  The  rings  were 
— duplicate  mementos!" 

Countess   pauses   and    pants — then    as    Betty's    head    sinks    a    little 

abashed,  Countess  grins  an  instant  and  goes  on : 

114.  Spoken  Title:  "Foahgive  a  dying  woman  foah — intruding 

on  youah  affairs.  But  Saunders  Julian — 
loves  you — and  you  only!" 
Betty's  head  goes  down  again  on  the  Countess'  breast — Countess 
looks  at  her  with  tenderness,  then  off,  with  a  half  desperate  shake 
of  the  head,  as  if  "she"  cannot  stand  this  much  longer — suddenly 
she  starts  and  looks  off. 


"THE  COUNTESS  CHARMING"  323 

Scene  243. 

Int.  Countess'  Bedroom— (SEMI  CLOSE-UP) 
Boyle  and  Dr.  come  into  bedroom  door  and  stop — Boyle  looks  at 
Countess,  half  skeptical  and  suspicious,  but  he  hesitates.     Caven- 
dish crowds  past  him,  feigning  much  concern,  and  goes  toward  bed. 
Boyle  slowly  follows : 

Scene  244. 

Int.    Countess'   Bedroom— (SEMI   CLOSE-UP) 

Countess  in  bed — Betty  has  turned  to  look  as  Cavendish  comes  in 

and  bends  over  Countess — Betty  draws  up  and  away  a  step — Boyle 

comes    in,    half    awed    but    still    doubtful.      Cavendish    close    over 

Countess. 

Scene  245. 

Int.  Countess'  Bedroom— (CLOSE-UP) 

Cavendish  over  Countess,  shielding  her  from  others — she  looks  up 
at  him  desperately,  then  grins  daringly  and  whispers : 
Spoken  Title :  "Here's  where  I  croak,  Doc !" 

Countess  shuts  her  eyes,  gasps  and  turns  on  pillow — Cavendish 
watches,  almost  losing  his  nerve  for  an  instant — then  looking  off — 
Countess  suddenly  relaxes. 

Scene  246. 

Int.  Countess'  Bedroom— (SEMI  CLOSE-UP) 
Cavendish  turns   slowly  to   Betty  and   Boyle — he   shakes  his   head 
— looks  back  at   Countess,   then  turns  and  says :     "It's  all  over — 
she's  gone !"    Begins  to  urge  them  gently  from  the  room. 

Scene  247. 

Int.  Mrs.  Vandergrift's  Morning  Room 
Mrs.  Vandergrift  at  phone  calling  number. 

Scene  248. 

Int.  Countess'  Boudoir 

Jap  maid  answering  phone.  Cavendish,  Betty  and  Boyle  come  from 
bedroom  and  Cavendish  shuts  door.  Maid  turns  and  calls  Dr.  to 
phone.  Cavendish  tells  her  to  go  to  her  dead  mistress.  Maid 
shows  shock,  then  hurries  to  bedroom  as  Dr.  takes  phone.  He 
listens,  then  gravely  shakes  his  head  and  looks  back  toward  bed- 
room as  he  says :     "The  Countess  is  dead !" 

Scene  249. 

Int.  Mrs.  Vandergrift's  Morning  Room 

Mrs.   Van   at  phone   shows   shock.     Asks   question — exclaims   with 

regret.    Then  suddenly  she  says: 


324  THE  IRVING  SYSTEM  OF  WRITING 

ii6.     Spoken  Title:  'Then,  in  decency's  name,  doctor,  call  off 

that    detective!      My    necklace    is — er — ac- 
counted for !" 
Mrs.  Van  phones  and  waits. 

Scene  250. 

Int.  Countess'  Boudoir 

Cavendish  turns  with  phone  and  hands  it  to  Boyle — says  Mrs.  Van 
wants  to   talk  to   him,   etc.     Boyle,   wonderingly,   takes   it — (IRIS 
OUT) 
11/.     Subtitle:  The  End  of  a  Career  of  "Usefulness!" 

Scene  251. 

Int.  Countess'  Bedroom  (IRIS  IN) 

Julian  on,  in  man's  dress,  with  Cavendish,  as  Soto  and  other  Japs 
are  just  depositing  big  pine  box  (somewhat  like  sort  coffins  are 
shipped  in)  on  the  floor.  Statue  in  background.  Soto  pulls  cover 
off  box — it  is  half  full  of  excelsior — all  regard  it  with  interest. 
Julian  jokingly  suggests  that  it  is  for  HIM — then  they  debate  what 
to  put  into  it.  Suddenly  Julian  laughs  and  points  to  statue — he 
goes  toward  it 

Scene  252. 

Int.  Countess'  Hallway 

Jap  butler  just  admitting  Betty,  with  flowers.  She  explains  that 
she  comes  with  modest  offering  for  casket,  etc.  Jap  much  wor- 
ried, asks  her  to  wait,  and  edges  toward  drawing  room. 

Scene  253. 

Int.  Countess'  Drawing  Room 

Julian  and  others  just  dropping  statue  into  box — it  goes  in,  all  but 
an  arm.  All  laugh.  Cavendish  says  it  can't  go.  Julian  says  it 
must — he  catches  up  a  chair  and  breaks  off  the  arm — chucking  it 
into  the  box  after  the  rest.  Soto  and  other  Jap  start  to  put  on 
cover.     Jap  butler  comes  in  fearfully  and  to  Julian. 

Scene  254. 
Int.  Hallway 

Betty  hears  sound  in  drawing  room  with  astonishment — after  an 
instant,  with  strange  expression  she  goes  that  way. 

Scene  255. 
Int.  Drawing  Room 

Japs  have  just  put  cover  on  box.  Julian  and  Cavendish  listen  in 
dismay  as  butler  tells  them  of  Betty's  presence  in  hallway  and  then 
Betty  comes  in.     All  stare.     Julian  presses  forward  anxiously. 


"THE  COUNTESS  CHARMING"  325 

Scene  256. 

Int.  Countess'  Drawing  Room— (SEMI  CLOSE-UP) 
Betty  stares  at  Julian — he  stretches  out  a  hand  anxiously,  but  she 
turns  from  him  and  looks  toward  box  in  background.  Then  she 
ignores  Julian  and  goes  toward  box  with  her  flowers.  Julian  turns 
instantly  and  waves  frantically  past  her  to  Cavendish  near  box  to 
do  something.  Then  Julian  thinks,  suddenly  grins  and  whirls  to 
and  out  door. 

Scene  257. 

Int.  Drawing  Room— (SEMI  CLOSE-UP) 

Beside  the  box,  Cavendish  greets  Betty  gravely.  She  speaks  of 
putting  the  flowers  on  casket,  etc.  She  looks  down.  Cavendish 
in  great  distress — looks  off — fidgets — then  quiets  and  tries  to  demur 
as  Betty  looks  up. 

Scene  258. 

Int.  Drawing  Room— SEMI  CLOSE-UP) 
Japs,  as  they  stare  and  anticipate  catastrophe. 

Scene  259. 

Int.  Countess'  Drawing  Room 

Betty  looks  up  at  Cavendish  in  wonder  at  his  refusing  her  simple 
request.  Suddenly  she  turns  and  commands  him  to  open  the  box. 
He  hesitates,  looks  at  Cavendish.  Cavendish  is  helpless — turns  out 
his  hands  hopelessly.  Soto  lifts  the  cover.  Betty  bends,  then  sud- 
denly starts  and  stares. 

Scene  260. 

Int.  Countess'  Drawing  Room— (CLOSE  UP) 

Face  of  statue  with  broken  nose,  in  excelsior  filled  box. 

Scene  261. 

Int.  Countess'  Drawing  Room 

Betty  amazed,  rises  erect  and  stares  around.  Then  she  turns  on 
Cavendish  and  demands  an  explanation — but  just  from  door  behind 
Betty  comes  Julian  in  Countess'  wig  and  negligee — and  cavendish 
sees  him,  and,  waving  Betty  to  him,  turns  and  beats  it. 

Scene  262. 

Int.  Drawing  Room— (SEMI  CLOSE-UP)  Countess 
Betty  turns  and  sees  Countess — stares — then  half  scared,  as  if  she 
sees  a  ghost — Countess  steps  forward  till  only  the  box  separates 
the  two — then  coolly  lifts  off  wig  and  throws  off  kimono  and  stands 
forth  as  Julian — Betty  gasps  and  drops  flowers — then  she  de- 
mands  of   Julian : 


326  THE  IRVING  SYSTEM  OF  WRITING 

ii8.     Spoken  Title:  "Why   did  you   do  this?" 

Julian  hesitates — then  grins — answers  : 

119.  Spoken  Title:  "To  make  good  your  promise  to  the  Red 

Cross  and — to  hand  one  honest  wallop  to 

the  Vans !" 
Betty  stares — then  looks  down  at  box — then  up  at  him  again — then 
at  box — Julian  looks  at  the  box  and  then  at  the  wig  in  his  hand — 
He   suddenly  slams  the  wig  into  the  box   in  supreme  disgust  and 
steps  in  upon  it,  treading  it  down  on  statue's  face — then  he  says: 

120.  Spoken  Title:  "You    CAN'T    be   jealous.      I'm    forever — 

IN  DUTCH  with  the  'DUTCHESS!'  " 
Betty  looks  up — she  is  smiling  irrepressibly — Julian  suddenly  steps 
across  to  her,  taking  her  hands  eagerly.     (IRIS  OUT) 

—FINIS— 


PART  V 

GLOSSARY  OF  WORDS  AND  PHRASES  USED  IN 
PHOTOPLAY  WRITING 

Chapter  I 

THE  GLOSSARY 

It  is  important  to  note  that  the  following  terms  are  defined  in  relation 
to  the  photoplay,  not  according  to  their  accepted  meaning;  therefore,  in 
many  instances,  the  definitiotis  differ  from  the  common  usage  of  the 
terms.    The  meaning  given  is  that  prevalent  in  studios. 

*    *    *    * 

ACTION — The  doings  of  the  various  characters,  by  which  the  plot  is 
unfolded  and  the  story  told. 

ADAPTATION — A  photoplay  taken  from  published  fact  or  fiction. 

ANGLE-SHOT — A  view  of  a  scene  taken  from  a  different  angle. 

ART  DIRECTOR — A  studio  member  who  sees  that  art  objects  in  a 
"set"  are  correctly  handled. 

ATMOSPHERE — Differently  interpreted;  usually  meaning  the  local 
color  surrounding  a  scene  or  play. 

AUXILIARY  CHARACTER— A  minor  character. 

BUNCH  LIGHTS — Clusters  of  incandescents  used  in  photographing 
scenes. 

BUSINESS — Author's  instructions  for  a  certain  piece  of  acting. 

BUST — Obsolete  for  close-up. 

"CAMERA" — Just  before  the  photographing  of  a  scene  begins,  the 
Director  calls  "Camera,"  and  the  cameraman  immediately  gets  everything 
ready  for  the  beginning  of  the  scene  action,  which  opens  when  the  direc- 
tor says  "Shoot." 

CAMERA  EYE— Power  of  visualization. 

CAPTION— Obsolete  for  sub-title. 

CAST — Abbreviation  of  Cast  of  Characters. 

CAST  OF  CHARACTERS— List  of  characters  appearing  in  a  play. 

CHARACTER — One  of  the  fictitious  persons  in  a  photoplay. 

CINEMATOGRAPHER — The  cameraman,  who  operates  the  motion 
picture  camera. 

CLIMAX — The  highest  point  of  interest  and  suspense,  from  which  all 
action  descends;  the  untying  of  the  "major  knot";  the  supreme  crisis  of 
a  play. 

CLOSE-UP— Scene  photographed  with  the  camera  close  to  the  action. 

327 


328  THE  IRVING  SYSTEM  OF  WRITING 

CONFLICT — Antagonism  of  characters;  conflict  is  the  indispensable 
element  of  plot. 

CONTINUITY — The  succession  of  scenes,  sub-titles  and  inserts,  ex- 
actly as  they  are  to  be  directed,  acted  and  photographed. 

CONTINUOUS  ACTION— A  scene  in  a  single  location  acted  by  one 
set  of  characters;  or  action  followed  without  interruption  in  a  series 
of  locations. 

COOPER-HEWITTS — The  mercury-vapor  lamps  used  overhead  in 
studios  for  interior  scenes  or  night  work.  They  give  off  a  ghastly  blue 
light  making  the  face  look  swollen  and  purple  in  places, 

CRANK — Meaning  to  photograph.     See  "Camera." 

CRANKING— Photographing. 

CRANK-SPEED — Speed  at  which  the  picture  is  to  be  photographed. 

CRISIS — A  critical  moment  in  the  development  of  a  plot;  a  minor 
climax. 

CUT-BACK — To  return  to  a  previous  scene  after  introducing  other 
scenes. 

CUT  SCENE — A  scene  shortened  after  being  viewed  in  the  projection 
room.    Also  instruction  to  stop  camera. 

DENOUEMENT — That  portion  of  a  plot  following  the  major  climax; 
the  ending;  the  Explication. 

DESCRIPTIVE  TITLE— A  sub-title  explaining  anything  not  shown 
in  the  plot. 

DIRECTOR — One  who  oversees  the  production  of  a  photoplay. 

DIRECTOR  OF  LOCATION— One  who  finds  suitable  places  through- 
out the  country  to  be  used  as  settings  for  plays. 

DISCOVER — Meaning  a  character  is  "on"  when  a  scene  begins. 

DISSOLVE — To  blend  one  scene  into  another. 

DOUBLE  EXPOSURE — A  positive  picture  made  from  two  overlapped 
negatives. 

DREAM  PICTURE — An  improbable  play,  finally  explained  by  saying 
that  it  was  all  a  dream. 

ENTER — Entrance  into  a  scene. 

EPISODE — One  section  of  a  serial  play. 

ESTABLISH — To  make  clear  the  relation  of  one  character  to  the 
others ;  or  to  register,  in  a  broad  sense,  as,  "establish"  innocence,  anger 
or  jealousy. 

EXHIBITOR — One  who  operates  a  motion  picture  theater. 

EXIT,  EXEUNT — Former,  one  character  passing  out  of  a  scene; 
latter,  two  characters  doing  the  same  thing. 

EXPLANATORY  TITLE— Sub-title  clearing  up  a  vague  part  of  the 
plot. 

EXTERIOR— Out-of-door   setting. 

EXTRAS — Actors  or  actresses  engaged  by  the  day  to  play  minor  parts. 

FACTION — A  set  of  characters  working  together  for  a  common  pur- 
pose. 

FADE — Used  in  compound  form:  Fade-in  and  Fade-out;  former, 
gradual  appearance  of  a  scene ;  latter,  its  gradual  disappearance. 

FAKING — Making  the  impossible  seem  possible. 

FEATURE — An  unusual  subject  generally;  sometimes  an  ordinary  sub- 
ject unusually  handled. 


THE  GLOSSARY  329 

FILM — Three  meanings:  (i)  A  chemically  sensitized  piece  of  cellu- 
loid used  in  motion  picture  photography;  (2)  a  photoplay;  (3)  to  turn 
a  scenario  into  a  finished  play. 

FILMING — Producing  a  photoplay. 

FLASH — Showing  a  scene  or  part  of  a  scene  on  the  screen  for  a 
moment. 

FRAME — (i)  Each  single  picture  in  a  photoplay;  a  series  of  scenes 
following  each  other  quickly  make  the  pictures  seem  to  "move" ;  (2) 
part  of  the  camera  used  to  exhibit  a  photoplay. 

FREE-LANCE — A  photoplay  writer  who  submits  his  plays  when  and 
where  he  desires ;  not  under  contract  with  any  one  company. 

GESTURE — Registering  by  action;  opposed  to  facial  expression. 

INSERT — "Still"  matter  inserted  in  a  play — not  including  a  sub- 
title.    Examples :    letters,   telegrams,   newspapers,   and   the   like. 

INTERIOR — Scene  supposed  to  take  place  in-doors. 

INTERPOSE — Interrupt  orderly  procession  of  events. 

INTRODUCTORY    TITLE— Sub-title    introducing    a    character. 

IRIS — Diaphragm  regulating  the  aperture  of  the  camera  lens. 

IRIS-IN:  Opening  the  iris  of  a  scene.  IRIS-OUT:  Closing  the  iris 
on  a  scene. 

LABORATORY — Department  of  studio,  wherein  films  are  made  into 
plays  for  exhibition  after  being  filmed. 

LEAD — Principal  part  in  a  play. 

LEADER— Obsolete  for  sub-title. 

LIGHTING — Tinting  a  play  to  produce  various  night  or  day  effects. 

LOCATION — Place  outside  of  a  studio  whereat  a  scene  or  number  of 
scenes  are  photographed. 

LOCATION  LIST — Itemized  statement  of  locations  to  be  used  in  a 
particular  play. 

LONG-SHOT— A  full  view  of  a  scene. 

MAIN  TITLE— Name  of  a  play. 

MAT — A  plate  put  over  a  lens  when  a  scene  is  photographed  to  pro- 
duce the  effect  of  looking  through  a  key-hole,  field  glasses,  and  so  on. 

MULTIPLE  REEL — A  photoplay  of  more  than  one  reel. 

NEGATIVE — The  exposed  film  run  through  the  motion  picture  camera. 
The  "positives"  all  are  made  from  the  one  negative. 

OFF — The  reverse  of  "On." 

ON — When  a  character  is  "in  the  picture,"  he  is  "on." 

PAD — Inserting  unnecessary  matter  in  a  play. 

PAN  OR  PANORAMA — Moving  the  camera  from  side  to  side  or  up 
and  down  while  a  scene  is  being  photographed. 

PANTOMIME-— Action  by  movement  of  the  body  or  features  to  con- 
vey  certain   meanings. 

PHOTO-DRAMATIST— Another  term  for  photoplaywright. 

PHOTOPLAY— A  story  told  in  pictured  action. 

PICTURE  STORY— A  photoplay. 

PLOT — A  complete  idea  elaborated  into  situations  according  to  the 
rules  of  plot-building.  In  a  broad  sense,  plot  is  the  scheme,  plan,  argu- 
ment or  action  of  a  photoplay. 

PORTABLE  LIGHTS — A  rack  of  mercury  lights  which  can  be  carried 
from  one  part  of  the  studio  to  another. 


330  THE  IRVING  SYSTEM  OF  WRITING 

POSITIVE — A  film  printed  from  a  negative;  the  finished  photoplay  as 
used  by  exhibitors. 

PRINCIPALS — The  major  actors  or  actresses  in  a  photoplay. 

PRODUCER — One  who  causes  a  manuscript  to  be  turned  into  a  photo- 
play ;  usually  the  financial  head  of  a  company. 

PROJECTION  MACHINE— Machine  used  by  exhibitors  to  exhibit 
plays  on  the  screen. 

PROPS — Abbreviation  of  properties;  the  objects  used  in  preparing 
"sets." 

PROPERTY   LIST— Itemized   list   of  properties. 

PUNCH — Action  calculated  to  arouse  strong  emotions  on  the  part  of 
an  audience. 

READER — One  who  assists  the  scenario  editor  in  looking  over  sub- 
mitted manuscripts. 

REEL — (i)  Metal  spool  on  which  film  is  wound  for  exhibition;  (2) 
approximately  1,000  feet  of  film. 

REGISTER — To  portray  emotions  of  anger,  hatred,  etc. 

RELEASE — A  certain  date  on  which  a  play  is  surrendered  for  ex- 
hibition. 

RELEASE  TITLE — The  main  title  finally  selected  for  a  photoplay. 
(See   working  title) 

RELIEF — Inconsequential  action  following  a  heavy  dramatic  scene. 

RETAKE — Photographing  an  unsatisfactory  scene  a  second  time. 

RETROSPECT— To  revert  to  a  former  action. 

SCENARIO — An  outline  of  a  photoplay  describing  in  every  detail  the 
development  of  the  plot  exactly  as  it  appears  on  the  screen  and  showing 
all  sub-titles  and  inserts. 

SCENARIO  EDITOR— Head  of  the  scenario  staff. 

SCENARIO  STAFF — Writers  and  readers  of  photoplays  under  em- 
ployment of  a  film  company. 

SCENE — That  portion  of  a  play's  action  taken  by  the  camera  without 
stopping.     A  photoplay  is  made  up  of  a  series  of  scenes. 

SCENE-PLOT — Itemized  list  of  various  scenes  classified  as  "interiors" 
and  "exteriors"  for  the  convenience  of  the  director. 

SCREEN — The  white  surface  on  which  films  are  exhibited. 

SCRIPT — Abbreviation  of  rnanuscript;  a  complete  photoplay  in  type- 
written form. 

SEMI  QLOSE-UP— A  distant  close-up  or  a  close  long-shot;  "in  be- 
tween" a  close-up  and  a  long-shot. 

SERIAL— A  photoplay  presented  in  installments. 

SEQUENCE — A  connected  series   of   events. 

SET — Arrangement  of  furniture,  background,  and  the  like,  for  a 
scene. 

SHOOT— When  the  Director  is  ready  for  the  Cameraman  to  begin 
photographing  a  scene,  he  exclaims  "Shoot." 

SILHOUETTE— Figure  or  figures  outlined. 

SITUATION— A  temporary  state  of  affairs  at  any  point  in  the  plot. 

SLAPSTICK  COMEDY— Comedy  of  a  "rough"  nature. 

SLOW-CRANKING— Usually,  when  a  picture  is  photographed,  sixteen 


GLOSSARY  331 

frames  are  exposed  to  action  per  second.  Often,  however,  only  eight 
or  twelve  frames  are  photographed— called  "cranking  eight"  or  "twelve" 
— in  order  to  make  the  action  seem  unusually  fast  when  the  picture  is  ex- 
hibited.   This  method  is  often  used  in  comedies. 

SPECTACLE — A  photoplay  containing  a  majority  of  gorgeous  scenes. 
"Intolerance"  a  fine  example. 

SPLIT  REEL — Approximately  i,ooo  feet  of  film  containing  more  than 
one  subject;  split  reels  have  gone  out  of  vogue. 

SPOKEN  TITLE — A  sub-title  consisting  of  a  quotation  by  a  character. 

STAR — A  very  well-known  and  popular  player. 

STILL — A  photograph  of  a  scene  or  a  character  in  a  play  made  with 
an  ordinary  camera.     "Stills"  are  used  for  advertising  purposes. 

STORY— Plot. 

STRUGGLE — The  contention  resulting  from  opposition  in  the  plot. 

STUDIO — The  place  where  photoplays  are  made. 

STUNTS — Extraordinary  or  hazardous  effects,  tricks  or  actions. 

SUB-TITLE — A  word,  a  phrase,  or  a  sentence  throvsrn  on  the  screen 
during  the  action  of  a  play. 

SUSPENSE — The  doubtful  state  of  mind  of  the  audience  as  to  the 
outcome  of   events. 

SWITCH-BACK— Same  as  cut-back. 

SYNOPSIS — An  abstract  or  summary  of  the  plot. 

TECHNIQUE — The  skillful  putting  of  an  idea  into  proper  form. 

TECHNICAL  DIRECTOR— One  who  is  supposed  to  see  that  in- 
consistencies do  not  appear  in  the  details  of  a  set.  A  Technical  Director 
would  not  allow  electric  lights  to  appear  in  a  picture  of  '76. 

TELESCOPIC  LENS — Lens   for  long  distance  photography. 

THEME— That  which  a  plot  is  about. 

THRILLS — Unique  action,  often  spectacular,  dangerous  or  unex- 
pected. 

TIME  ELAPSE — A  sub-title,  or  a  fade-out,  or  a  combination  of  both, 
indicating  the  passage  of  time. 

TINTING — Passing  daylight  pictures  through  pale  colors  to  give  them 
special  effects — night,  fire,  etc. — when  shown  on  the  screen. 

TRUCK-BACK — The  act  of  moving  the  camera  back  from  the  scene 
while  it  is  being  photographed. 

TRUCK-UP— The   reverse    of    Truck-Back. 

VIGNETTE — A  close-up  of  a  face  or  article. 

VISION — The  forming  of  mental  actions  not  in  the  immediate  scene. 

VISUALIZATION — Forming  mental  pictures  of  how  a  scene  will  ap- 
pear on  the  screen. 

WIDE-ANGLE  LENS — Specially  wide-constructed  lens  for  photo- 
graphing scenes  at  short  range. 

WORKING  SCRIPT — The  manuscript  used  in  a  studio  to  produce  a 
photoplay. 

WORKING  TITLE— The  title  of  a  photoplay  used  in  the  studio  while 
the  picture  is  being  filmed.  The  working  title  may  or  may  not  be  used 
as  the  play's  final  title.     (See  release  title) 


332  THE  IRVING  SYSTEM  OF  WRITING 


ABBREVIATIONS 

Elx. — Exit  Disc— Discover 

Ent. — Enter  m.  g.— Middleground 

c.  u. — Close-up  f.  g. — Foreground 

Bus. — Business  b.  g.— Background 

Ms.  or  Script — Manuscript  Int.— Interior 

Pan. — Panorama  Ext.— Exterior 
Props. — Properties 


-^^^v  jn^  A^nriFS 


UCLA-Theater  Arts  Library 

PN  147 1752  V.6 


L  006  285  269  4 


^!r'«r. 


